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DESIGN AND ARCHITECTURE
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M A L A Y S I A
COURTYARD HYBRID VECTOR ARCHITECTS
HANOIA HOUSE G8A ARCHITECTURE & URBAN PLANNING MERCURIO DESIGN LAB
THE WINDOW HOUSE FORMZERO
DESIGNED FOR LEARNING
ARCHITECTURE HAS A ROLE IN EDUCATION
/ SPECIAL REPORT /
Marvellous Machines IT’S A BIRD. IT’S A PLANE. IT’S TWO WATCHES! BELL & ROSS HAS DESIGNED A FLYING MACHINE AND A PAIR OF TIMEPIECES THAT PERFECTLY COMPLEMENT IT.
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t has always been inspired by aviation, so it should not come as a surprise that watchmaker Bell & Ross has designed a plane. Named the BR-Bird, it has in turn spurred the designers on to create two new Racing Bird timepieces. The BR-Bird is conceived by Bruno Belamich, Bell & Ross’s co-founder and creative director. Sleek, ultra-modern and powerful, the plane contains a single seat and flies with a propeller engine powered by a V12 Rolls Royce Falcon. Its cockpit is located as far back along its 9.5m 22
length as possible, reminiscent of the high speed of dragsters. On the other hand, its short but broad wings are situated near the front, borrowing the technique used by the Comet DH.88, Hughes H-1 and Bugatti-DeMonge 100P of the 1930s, and the famed P51 Mustang of the 1940s. At the rear, its Y-shaped empennage allows for easy manoeuvring, but also makes it distinctive. With its capability of flying at high speeds of up to 909km/h, and thanks to the advanced
technology used to create it – it is made from a graphite, fiberglass, titanium and aluminum alloy – the BR-Bird qualifies to perform at the prestigious Reno Air Races in Nevada, USA. This is an annual event regarded as the most extreme speed competition in the aviation industry. Launched in 1924, it sees displays of planes flying at full speed, at low altitudes within a closed circuit marked by 10m-high pylons. Not only do the pilots need to be daring and dexterous, the aircraft too needs to be powerful and aerodynamic.
Need for Speed
BR V1-92 RACING BIRD
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BR V2-94 RACING BIRD
AÉro-GT
This is a supercar but it styles itself after the silhouette of the Rafale, a military aircraft. Aerodynamic and advocating the rules of extreme sportsmanship, it represents the brand’s unrelenting quest for perfection.
FLIGHT TIME Naturally, Bell & Ross would create a pair of watches inspired by the BR-Bird. Named Racing Bird, one is a three-hand (BR V1-92) and the other, a chronograph (BR V2-94). They borrow their aesthetics from the racing aircraft, especially their colouring. Like the fuselage of the plane, the dial is white. Blue is used on the numerals, bezel, chronograph counter and leather strap of the three-hand. Just as the colour orange highlights the most pertinent information on flight instruments, it is applied to the central second hand, details on the dial and lining of the leather strap. Finally, the timer is grey, just as the Bell & Ross logo on the wings and flanks of the aircraft. The dials of the watches too reference the BR-Bird. The numerals use the same typography as the onboard counters. The
date window reflect three numbers that reference flight instrumentation. On the steel case back and attached to the base of the second hand (on the three-hand version) and second timer (on the chronograph version) is a silhouette of the plane. Internally, both watches are powered by a self-winding mechanical movement. Only 999 pieces are available of each model. Time-keeping aside, they represent the taking off on a flight path that is underscored by aviation history, performance, extreme professionals and passion.
These three mean machines are the predecessors of the BR-Bird, all designed by Bell & Ross.
B-Rocket
It is a motorcycle but there is nothing ordinary about it. The B-Rocket pays tribute to the prototypes from the 1950s, created with the intention to break world land speed records on two or four wheels.
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Bellytanker
It is obvious where its name came from. Mimicking the drop tanks used by fighter jets of the 1940s, this mean machine is a racing car that seems to defy physics with its four narrow wheels. But don’t be fooled by it. the Bellytanker went on to break land speed records at the Great Salt Lake race in Utah, USA.
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/ REPORT /
/ WORDS LOW SHI PING
SALONE DEL MOBILE 2018 d+a VISITED THE WORLD’S MOST IMPORTANT FURNITURE FAIR HELD IN MILAN, ITALY AND IDENTIFIED THE TRENDS THAT MARKED THIS YEAR’S EVENT.
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t is hard to believe that the Salone del Mobile has been around for 57 years. Held over a week in April in Milan, it sees 300,000 visitors descending onto the city to participate in an orgy of furniture design, innovation, networking and trend-spotting. Making its debut this year is a manifesto published by the organisers, describing nine areas that it wants to focus on. It declares an intent of “channelling the forces in Milan to work together to preserve the leadership role of both the city and the trade fair, and attract ideas, projects and new resources”. Acting as a rallying call, it reaches out to architects, designers and brands to face up to global challenges such as climate change, support young designers, openly exchange ideas and give a thought to Milan’s contribution to the industry. Thanks to advances in technology, society is evolving at a constant and rapid pace. The manifesto asks that design and architecture tackle this head on, serving to help than hinder. This can be done through examining production processes and service methods to bring the industry forward. But perhaps the most poignant statement in the document is the recognition that the way things were is but a slice of the past. Instead, the future is bright with endless possibilities: “The phrase we’ve always done it like this has ceased to exist, replaced by a commitment to strive to do even better and achieve more than we already are.”
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/ REPORT /
MORE THAN MEETS THE EYE AN ELEMENT OF FUN AND INTRIGUE UNDERSCORED MANY OF THE PIECES THIS YEAR, LEAVING VISITORS PLEASANTLY SURPRISED.
You’d be forgiven for thinking this is a ceramic sculpture. What gives it away is the brand that launched it: Foscarini, the masters of lights. Superficie is designed by Calvi and Brambilla and made from acrylic and aluminium. Its oval shape is interrupted by concave and convex points that force a play of shadows. When off, it truly becomes a piece of art; when on, it presents an added function of illuminating a space.
It is easy to mistake this for a fridge, or a storage cabinet. Open the door and all is then revealed. From V-ZUG comes the Refresh Butler, a DIY dry cleaning closet that can be installed in a wardrobe, walk-in or otherwise. It promises to eliminate up to 99.99 percent of germs and bacteria, and is suitable to cleanse clothing made from delicate materials such as satin and silk. An English chessboard on the wall? Not really. This piece from Giorgetti calls itself The Cabinet of Memories and is a sculpture at the same time. Designed by Chi Wing Lo, it is meant to be hung on a wall and is made from slate grey maple wood. There are 120 compartments with half visible at each time, thanks to a carbon sliding door. Display precious miniatures that can be further illuminated via a LED whose light intensity can be regulated.
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From the outside, it looks like any other product from Jacuzzi. In fact, the new Swimlife SwimSpas is a water treadmill that allows you to work out in the tub, with an adjustable jet-generated current that can flow as high as 18km/h. Available in two configurations, it is suited for amateur and professional swimmers. The best part? When you are done with your exercise, switch to hydrotherapy mode where the jets will target different muscular groups to help the body recuperate.
Pinocchio “My Book” from Riva 1920 by Lucio Boscardin is a 2.2m tall wooden “tome” that tucks away neatly, or opens up to reveal an abundance of storage space and a desk and stools to work at. Obviously inspired by the Italian puppet, it tells a tale of creativity, fun and imagination and comes complete with an imprint of the character.
FOR SMALL SPACES FROM SYSTEMS TO FURNITURE AND FITTINGS, THESE OPTIONS ARE BEST SUITED FOR APARTMENTS THAT ARE COMPACT AND REQUIRE A HIGH DEGREE OF MULTI-FUNCTIONALITY TO MAXIMISE EVERY SQUARE FOOT.
The Boutique Mast from Porro by Piero Lissoni is, at its core, a walk-in wardrobe, except it is free of doors so there is no need to provide space for them. Minimalist in style, its vertical iron rods are strong enough to hold a mirror and shelves – the latter of which can be converted into a writing desk by day.
You’d never guess this is a kitchen, but it is. Created by Alessandro Mendini for Sanwa Company, the AM 01 is a cabinet that neatly conceals a sink, hood, hob and storage. It measures 120cm by 75cm and can either be pushed against a wall, or left standing in the middle of a room. When the doors are shut, the bright colours on the wooden lacquered polychrome panels lend a cheerful tone to the room.
This system certainly lives up to its name. Launched by Clei, the Dynamic Wall is designed by Pierluigi Colombo and features hand-brushed cement finishing. When shut, it resembles a wall in the house, where everything is tucked within it. At a push of a button though, the motorised opening mechanism unveils different elements. This could be everything from a book or storage compartment, to a pair of bunk beds and a queen-sized bed.
Carlo Colombo has created a variety of tables named Gustav for Flexform. Topped with marble and framed in solid wood Canaletto walnut with minimal flourishes, they resemble a pared down version of the furniture found in traditional coffeeshops of yesteryear in Singapore and Malaysia. Stack the coffee tables together for more surface area – or just use one in a small living room. 27
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MINIMALISM SIMPLE, QUIET AND ELEGANT, THE LESS-IS-MORE TREND CONTINUES TO WEND ITS WAY THROUGH THE FAIR. HERE, WE PICK A SELECTION THAT CAUGHT OUR EYE, EVEN WHILE THEY PREFER TO COMPLEMENT THE BACKGROUND.
All it takes is a 45-degree tilt of the legs to present a table with a different look – this is exactly what Michael Anastassiades did with the Ordinal for Cassina. The eye is immediately drawn to this new dynamic, done in part to maximise the strength of the legs too. As a result, they look slender and monolithic at the same time. This piece is available in a combination of aluminium and wood, and in a rectangle or oval top.
A new product typology from Minotti, the modular system Quadrado meant for the outdoors is designed by Brazilian architect Marcio Kogan and inspired by the classic teak duckboard used in yachts. The deep sofas rest on a suspended square platform that is itself cut out with squares, giving it a light and airy feel. Wood slabs rest atop some of them, acting as side tables, as well as candle holders that can double up to contain magazines.
Could your dining table be a plate too? That is what the Plate Dining Table alludes to. Created for Vitra by Jasper Morrison, it also stands for his “super normal” philosophy, which is his solution to form balanced with function. Its efficiency is evident from the minimal use of materials. At the same time, it has subtle design elements such as a slight overhang of the top and splayed legs to give it a slender profile. 28
You can always rely on the Danish to do something simple. This year, Republic of Fritz Hansen collaborated with Nendo to launch the N01 wood armchair. Honest in its design, the dining chair is wonderfully detailed too, visible from every angle. A total of 23 wood pieces compose it, and is available in beech, oak and black oak.
IT’S IN THE DETAILS THE REFINEMENTS OF THESE PRODUCTS MIGHT BE EASY TO MISS BUT SPOT THEM AND A NEWFOUND RESPECT FOR THE INGENIOUS MIND BEHIND THEM IS GUARANTEED TO BE HAD.
Hang it vertically, or leave it in a pile on the ground. Either way, the Catena Freedom from Davidemedri will light up the night. From far it looks like interlocking rings that form a chain. Go nearer and what is immediately apparent is its surface covered in hundreds of mirrored glass mosaic. Painstakingly cut and fixed on by hand, the pieces cover every square inch and reflect the surroundings, dazzling all who come near it. From far, they look like ordinary poufs covered with Kimia fabric. Go close and unmistakable are the handembroidered patterns made with flat cords in rope yarn that represent Spring, which this collection is named after. A new outdoor living collection from Paola Lenti and designed by Marella Ferrera, it also comes with a matching rug.
Classical in its inspiration, the Raidho dining table by Steve Leung for Visionnaire is an elaborate composition where marble and amethyst is handmade and polished before being inlaid into the top and edged with stainless steel. Slightly elevated is a Lazy Susan, also in marble, with a safety edge and rotating weight holder system. Holding it all up is a cone-shaped chrome metal base painted in iron colour.
Gessi collaborated for the first time with American designer David Rockwell to create the Inciso collection. Its aesthetic is marked by the formal silhouettes of early plumbing fixtures merging with the architectural sensibility of modern metalwork. Closer inspection yields details such as textured patterns on the pieces, contrasting against the brushed metal finish. Made of solid brass, it is available in finishes such as black, nickel and bronze. 29
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GEOMETRIC SQUARES, RECTANGLES, CIRCLES, TRIANGLES AND MORE. EVERY IMAGINABLE SHAPE GOVERNED THE AESTHETIC OF THESE FURNITURE PIECES.
Two coloured semi-circles make up this applique wall light, the Papillon, designed by Bernhardt&Vella for Arflex. The interplay of geometric shapes, colours, transparencies and the light emitted from the LED strip in the central beam – with its golden coloured finishing – results in a piece that is simple and pure but also retro in style.
“Light and shape are the elements that make up a lamp,” said Ferruccio Laviani, who designed the Big Battery for Kartell. Its abat-jour comprises of diamond-shaped patterns running around it. When turned on, the light slices through, making it sparkle like precious gems. This piece is suitable as an accent in cafes and outdoor restaurants, or an office to cheer up a quiet corner. Jean Nouvel has created this bookshelf for Glas Italia. Named Ami-Verre, it has a lattice-like design made up of 10mm smoked or black tempered glass. The configuration is not fixed though, so feel free to change it to suit every whim and fancy. Joints allow the shelves and walls to be shifted around using precise glass millings.
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This iconic piece first launched in the 1980s comes as a re-edition this year. Coffee table Alanda ’18, designed by Paolo Piva, is from B&B Italia and pays tribute to the late architect. Available in 120cm by 120cm and 120cm by 180cm, it does not deviate from its original geometric base that seems to be made up of inverted pyramids. This is kept in view thanks to a top in extra-light or smoked glass.
Vienna wickerwork pattern takes centrestage in the Aerias chair from ClassiCon. Designed by Tilla Goldberg, it is found on the chair back and seat but in place of rattan, is made from leather stretched over a wood frame. The result is a flexible surface that easily absorbs the movements of the body, making it a comfortable piece to spend hours on. Opt to have the leather in two different colours for a greater contrast, or to complement other pieces in the room.
COOKING UP A STORM HELD BIENNIALLY, EUROCUCINA THIS YEAR SAW KITCHEN DESIGNERS INTRODUCED TO A HOST OF CLEVER AND UNUSUAL IDEAS TO THE HEART OF THE HOME.
The use of stone in the kitchen systems was naturally a prevalent theme too. Brands like Euromobil displayed a black marble with thick white veins to cap an island, cut to a thickness of 6mm in accordance with its name Sei. Hansgrohe also launched a new kitchen sink in dark or light grey granite.
Kitchen islands got bigger with table tops attached to them so they become convenient to sit at and dine. Poliform went so far as to install a round one, clearly courting the Chinese market that favours this shape. While pure forms will never get old, companies like SieMatic have taken them a little bit further. Its signature handle-free system is updated with the introduction of generously sized, tinted glass surfaces. These are used alongside strategically placed lighting integrated into the carpentry to highlight and guide the eye. The interplay results in elegant transparency and comfortable lightness. Some brands shifted away from clean, minimalistic lines. Snaidero offered a snazzy design courtesy of Pininfarina Extra, the same company behind marques such as Ferrari and Maserati. The system is named Vision and is distinctive for the V-shaped stand that holds up one side of the island, affording it a lightness that is counterbalanced by the massing of the storage cabinets.
As much as the kitchen is the heart of the home, sometimes owners prefer to conceal it too. This is what Valcucine had in mind when it designed Logica Celata. When shut, it is a monolithic, pure piece of furniture. At the wave of the hand, a panel slides silently upward to reveal the full extent of the kitchen, such as workspaces, the sink and shelves of condiments and produce waiting to be used. 31
/ FEATURE /
/ WORDS OLIVER ELLERTON
DESIGNED FOR LEARNING Architecture should not be side-lined when it comes to educational institutions. It can even help improve student performance.
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A new arts school project called 52 Arts in Shenzhen, China, aimed at children from three to 12 years old, is designed to create a space that allows them to feel a sense of ownership, to explore, and to be creative. (photo: P A L Design Group / Photographer Dick Liu)
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52 Arts incorporates the principle of “Caring Design”, creating a mini library and open forum where the kids can interact and engage with each other, with the aim of encouraging group learning and freethinking individuals. (photo: P A L Design Group / Photographer Dick Liu)
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n many countries, conversations surrounding education too often focus on a few topics. Funding is a perennial issue, as is the choice between going public or private. Some countries grapple with the standardisation and quality of examination, while others debate student debt, teacher pay and physical conditions. Perhaps because it is largely free from ideology, school design is rarely discussed in the mainstream media – this despite growing evidence that the way educational institutions are designed and built have significant effects on the quality and outcomes of student learning. A study conducted by Salford University and published in 2015 showed that welldesigned classrooms can improve pupil performance by 16 percent. It pointed to
elements including light and size of the room, layout of the school and proximity to nature impacting student performance. Professor Peter Barrett, Emeritus Professor at the university in Manchester, United Kingdom, led the study. “We found that the differences in the physical characteristics of classrooms explained 16 percent of the variation in learning progress over a year for the 3,766 pupils included in the study. “The implication is that pupils learning in schools that rated highly across a variety of physical factors would do better than those in schools with poorer physical attributes. “Design does matter when it comes to schools, and architects need to get the basics right, such as ensuring the school is orientated correctly, the windows are at the right height (lower down for smaller kids) etc.
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/ PHOTOGRAPHY DICK LIU
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The designers of 52 Arts sought, through their design, to present kids and adults alike with an unexpected spatial experience to inspire creativity and beauty, creating a flexible space to host a range of art classes for western painting, Chinese painting, pottery and crafts. (photo: P A L Design Group / Photographer Dick Liu)
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“They should take into account future trends and possible changes in teaching methods, and they need to find ways of making the space more interesting,” says Prof Barrett. CARING FOR THE YOUNG When it comes to designing for students just starting off in life, creating spaces that allow them to feel a sense of ownership is important. Not to be ignored either are areas for them to explore and be creative. A new arts school project, 52 Arts in Shenzhen, China, aimed at children from three to 12 years old, is one such example. “When designing 52 Arts, we believed that it was very important to start from the perspective of the kids,” says Joey Ho, Lead Designer of P A L Design Group, responsible for the design.
“A strong sense of caring is required because kids are emotionally sensitive and fragile to the environment, and so a caring and safe space should be the first priority.” Naturally, this principle of “caring design” was incorporated throughout the project. The number of classrooms was cut down from the original design, replaced by a mini library, kids’ gallery and open forum area to encourage interaction, discussion and the sharing of ideas. The intention behind this is to connect the young to art outside of the more formal lessons they undertake, encourage individual and group learning, and create a nurturing ground for free-thinking individuals. CONNECTING WITH THE ENVIRONMENT When it comes to older, more established schools, a common consideration is dealing with compounds that house heritage buildings. This often requires a sensitivity towards the past, while balancing it with a design that keeps up with changing needs.
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Singapore architect Park + Associates sought to ensure the older façade of the colonial buildings were maintained, while creating newer, modern learning spaces that embraced the environment and contours of the land at Nanyang Girls’ High School. (photo: Frank Pinckers)
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The extension of Singapore’s Nanyang Girls’ High School saw learning spaces sunk into the ground, maintaining the prominence of the older building and façade yet creating open learning spaces that also enabled students to take ownership of their surroundings. (photo: Frank Pinckers)
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I CAN SEE A RAINBOW Its reason for being is to bring beauty into daily life – something that Hermès Maison does brilliantly in its 2018 collection.
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t is 5pm in Milan and the Italian city is awash with bright sunlight. At the Museo della Permanente though, the illumination becomes progressively dimmer as we go deeper indoors. A rectangular cut-out into a white wall draws the eye into the third and final section of the museum. Just beyond it, a wall of deep-sea blue gleams tantalisingly under a spotlight, flanked otherwise by darkness. “Come discover,” it seems to say. We are at the launch of Hermès’ new collection for the home, as part of the 2018 edition of the Milan International Furniture Fair. In keeping with its style of rigour and fantasy, the French luxury brand has created yet another memorable scenography to debut its products. The theme is “All About Colour” and deputy artistic directors Charlotte Macaux Perelman and Alexis Fabry have successfully conveyed that. Step through and we are immediately immersed in what feels like a walled city in the hues of the rainbow. Seven angular rooms of varying dimensions were constructed in the space, adopting an architectural approach. “We like to showcase our products in an idea of a home. It’s an allegory of the house,” says Hélène Dubrule, the General Manager of Hermès Maison.
Collectively, their walls are clad with 150,000 zellige tiles from Morocco, with each in the same colour such as fuchsia, yellow and teal. Because they are hand-crafted using a traditional technique, there is gentle variance in tonality from one to another. It is easy to be distracted and focus just on the tiles alone, but then enter each room where the pieces of the home collection are displayed, and the attention starts to get diverted. There is polite interaction between the colours on the walls and scenography, and the products on show. It turns out this is deliberate. For instance, the Maîtres De La Forêt wallpaper hangs down from the ceiling in one of the rooms. Its foliage motif is printed in smalt blue, jade and sienna colours, contrasting against the reddish-brown of the interior wall tiles. “It’s a question of balance and subtlety. This play allows you to feel the sensuality of the colours and materials,” explains Dubrule. At the same time, the monumental scale of the architecture contrasts strongly against the precision and detail of the collection. The resultant effect is one of awe. In line with the theme, the objets are colourful too. There are plaids in shades of blue, tableware in yellow and orange, and vases in red and green. 41
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Inside the yellow room, openings that mimic a fireplace display items from the home collection.
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The green room is lined with shelves that are filled with items such as vases and occasional boxes.
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Dubrule points out that although colour is the theme this time, as a concept, it is not new to the brand, “It’s always been something we love. With this collection, we explore how it interacts with the materials and the different forms and functions of our products. It is another element of our language to be played with.” This year, the Maison has introduced several new typologies, some of which require a bit of imagination to figure out their function. “I like it when people ask, ‘What is that?’. Surprise is something we enjoy at Hermès,” she says, while pointing to a round frame with a middle strung with leather cord. It turns out to be a dream-catcher (or Attrape-rêves), but also an accessory hanger or a work of art, if you like. Weave a scarf or necktie into it, or slip a photo between the cords. “It’s very sculptural. It mingles
beauty, utility, function and imagination,” describes Dubrule. Another noteworthy piece is the Vis-àvis, a necklace bust inspired by the shape of a device found in the Hermès museum used to stretch horse harnesses. It is made of two pieces of mahogany wood covered with bridle leather. It all seems a little quirky and marvellous at the same time, which Dubrule is very pleased about, “We want to evoke imagination and fantasy. We also want to provoke emotion and sensation.” She takes pains to point out that Hermès is not a fashion house, but instead, it makes beautiful objets that accompany a client’s daily life “with elegance and modernity”. At the same time, it is their way to cohabitate alongside the most personal part of their lives: their homes. “There is this notion of intimacy and relationship to time. We are not about fashion where there is a need to renew every season. We want to ensure your lives are infused with beauty, savoir-faire, quality and detail.”
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/ HÉLÈNE DUBRULE PHOTOGRAPHY CAROLE BELLAICHE
MISTRESS OF THE MAISON
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The rich colours of the plaids are juxtaposed against the warm reddishbrown of the tiles.
Back at the Museo della Permanente, architects and designers have arrived en masse to view the collection. The reception seems to be warm and enthusiastic. We ask Dubrule why they should select a piece from Hermès Maison this year for inclusion in his or her next project. Her advice: to do so only if it makes sense, “Think first about the project. What is your vision? From there, you then feel how the beauty of our objets can fit into the project. We are not keen on a total look. I prefer that the project has a meaning first and if it fits, he can choose our objets to punctuate it.”
She has been with Hermès for 16 years, but Hélène Dubrule’s passion for the brand is still palpable. In fact, from the way the General Manager of Hermès Maison describes it, this is the most important quality necessary to work with the company. “When we recruit, we must feel this passion and quest for perfection, quality and excellence,” she says. “It is about finding the best experts for every aspect of the process to work together as a collective.” While she develops the creation of decorative objects, tableware, furniture and furnishing fabrics, a large part of her portfolio is also dedicated to team building. She says people are the most challenging and rewarding aspects of her role. “The complexity of our job and universe is diversity, so I have to ensure people work together as part of the value chain,” explains the 52-year-old. This she does through constantly reinforcing the mission, vision and values of Hermès. She is also mindful of empowering her team, giving them responsibility, recognition and gratitude at the right moments, “The most rewarding is when my team is happy to work together for Hermès to create and build beautiful objets.” Dubrule’s journey with Hermès started in 2002 as international marketing director for Hermès Parfums. She later went on to head the silk and textiles division, before helming the Maison universe in 2009. “It is great that the House can offer a person like me to change roles and have different experiences,” she says. While her previous roles might seem different from what she is doing now, in reality, they are all about understanding the identity of Hermès and knowing how to manage the teams. “My mission is to create a global vision that complements the men’s and women’s universes. [Hermès former chairman] Jean-Louis Dumas always said there are three kinds of objets we produce: to wear, carry and surround ourselves with. It is all in the name of creating a consistent, coherent universe.” 43
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CURIOSITY, NOVELTY AND DELIGHT We pick out the highlights from the Hermès Maison 2018 collection.
DROIT FIL Creation: Studio Hermès, in collaboration with Guillaume Delvigne and Damian O’Sullivan Typology: Scarf box
When shut, it takes the shape of a picnic basket, but slide it open and it looks like the wings of a bird. The box fits 18 scarves neatly and has a handle sheathed in blood orange alligator leather, which takes six hours to make.
A WALK IN THE GARDEN COLLECTION Creation: Studio Hermès Design: Nigel Peake Typology: Tableware
This collection will ensure summer reigns at your dining table all year round. Inspired by an English garden, the palette is composed of bright orange, leaf green, buttercup and Prussian blue. Leaves and grasses grow in between motifs of lattice, checks and herringbone. Stack them together as show plates, or use them separately when the occasion calls for it.
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BOUCHON Creation: Studio Hermès Typology: Stool
It might look too delicate to sit on but do it anyway. The structure is made with cork, then concealed with natural cowhide. On the side, the leather is pinched, saddlestitched then burnished – just as how Hermès bags are made. Light and nimble but attentiongrabbing, it makes for a perfect accent in a quiet corner.
KARUMI COLLECTION Creation: Alvaro Siza Design: Nigel Peake Typology: Bench
Place this against a wall, or pair it with a table. This bench is crafted from bamboo with the help of a Japanese master of the material. Complementing its lightness are the defined lines of the colourful tartan pad, which itself is removable and made by handembroidering wool and cotton thread onto cashmere.
LES 3 CHEVAUX Creation: Studio Hermès Design: Miguel Castro Leñero Typology: Plaid
Using the line drawing technique, Mexican artist Miguel Castro Leñero creates a horse for each cashmere plaid in a contemporary graphic style. This series is named after three of the highest mountains in his country. The design is block-printed onto the plaid using hand-carved wood blocks. Look closely and the detail of embroidered glass beads becomes apparent, adding a sparkly detail when viewed under a spotlight.
AVALON TANGRAM Creation: Studio Hermès Design: Gianpaolo Pagni Typology: Plaid
Keep warm with this 100 percent cashmere piece. Hand-spun, hand-woven and hand-overdyed, it is created by artisans in Nepal who are part of a “tribe of excellence” Hermès has formed around the world. The piece is deep-dyed in three basic colours, but also has other shades because of the way they mix together.
PLI’H COLLECTION Creation: Studio Hermès Typology: Desk accessory
The foundation of this is the brick bridle leather used to make the horse harnesses the brand is renowned for. With a fold, cut, or twist, these pieces can double up into an array of functions from change trays to pencil pots and card holders. Pure and simple their forms might be, but each one is steeped in a tradition that dates back centuries to the origins of Hermès.
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/ COMMERCIAL /
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/ PHOTOGRAPHY HAI ANH LE
/ WORDS LOUISA CLARE LIM
BEYOND THE FAÇADE The contemporary use of materials, and vivid displays of exquisite lacquer creations, breathe new life into the traditional tube-house setting of Hanoia’s flagship store.
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ld often makes way for new. In the face of rapid modernisation, both rarely coexist. But a hidden gem buried deep in the heart of Vietnam’s historic capital shines bright as the perfect case study. It is within the denseness of Hanoi in the colourful, characterful Old Quarter, and between layers of history that account for the city’s rich heritage, that Hanoia House embeds itself firmly, but sensitively. Having been renovated and designed by G8A Architecture & Urban Planning, the site is the flagship store of a Vietnamese luxury lifestyle brand known for its refined contemporary interpretations of traditional lacquer craft. From the front, the imposing coloured facade of Hanoia House already breaks away from the monotony of nondescript shops along the bustling Hang Dao, perhaps hinting at something extraordinary beyond.
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/ COMMERCIAL /
HANOIA HOUSE FLAGSHIP STORE LOCATION COMPLETION ARCHITECT SITE AREA GROSS FLOOR AREA
HANOI, VIETNAM 2016 G8A ARCHITECTURE & URBAN PLANNING 200M2 150M2
1 CONTEXTUAL PLAY Step through the defining entrance portal to discover it is one of Hanoi’s legendary tube houses – long, narrow tunnels of space subdivided into sections according to a family’s needs. These dwellings, where width is traded for height and depth (some were only as wide as 2m), were the result of taxes levied on street frontages. This one, an official heritage site, is composed of a series of three double-storied houses connected by courtyards that create pockets of light and air between the depths of enclosed space. With the essence of the historical setting preserved in Hanoia House, experiencing the shop is in traversing between external space and internal space; encountering elements both old and new. Hanoia’s collections are curated throughout the three houses, with the cafe 58
yard and contemplation yard offering breaks in between, and the secret garden at the back of the “tube” existing as a fragment of greenery in the middle of the hectic city. Its central mission of preserving the art of lacquer provided the inspiration and set the tone of Hanoia House. This is reflected abstractly in the ambience. “Lacquer is a deep and layered material; it generates warmth and luminosity. The feeling in the interior design then is warm, natural and cosy, with bronze lamps that dimly and selectively light the products,” says Laurence Savy, director of G8A Architecture & Urban Planning. TEXTURES OF PAST AND PRESENT Hanoia’s ethos of fusing tradition and modernity – or old and new – is also embodied in the way the new interior elements amalgamate respectfully with the existing historical structure.
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Along a busy street of Hanoi’s old quarter, what lies beyond a distinctive butterscotch-yellow facade is a historic tube house, complete with courtyards that allow light and air into the interior space.
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HOUSE FOR WORK The regional headquarter of this multi-national company is designed to be agile, open and multilayered as a gesture of consideration towards its users.
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n recent years, office buildings that have hogged architecture headlines tend to be owned by 21st-century technology companies, and designed by international practices and star architects. Examples include the recently-completed monolithic vertical campus for Tencent in Shenzhen by NBBJ, the circular Apple Park in Silicon Valley by Foster + Partners, and Facebook’s open-plan office by Frank Gehry. But an outstanding corporate outfit is not just the domain of technology companies. Just ask Hassell, which completed GSK Asia House at the end of last year, owned by pharmaceutical company GlaxoSmithKline (GSK). More than 800 office workers occupy this corporate hub in Singapore that supports the pharmaceutical, vaccines and consumer healthcare businesses across multiple regions. Rising six levels, its architecture is defined by a triangular motif in three different styles. 64
The dominant one is a curtain wall that wraps the sides and back of the structure from the second to top floor, recalling a cookie cutter found in a baker’s arsenal. On the ground floor, as if seemingly holding up the building, the motif is delineated by thick, white columns slanted at an angle of 45 degrees. The third, in the shape of three-dimensional fins, cascades down the front – boldly slashing across four horizontal layers of planted terraces – connecting the roof and the porch of the driveway. The resultant aesthetic is somewhat disparate but according to the architects, is done for good reason: to maximise views to the surrounding greenery and daylight, without allowing solar heat gain. In fact, the Hassell team spent several months doing extensive computational environmental studies to conclude at this ideal configuration that is best suited to the tropical climate.
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Rising six levels, the architecture of GSK Asia House is defined by a triangular motif in three different styles.
/ PHOTOGRAPHY HAI ANH LE
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GSK ASIA HOUSE LOCATION COMPLETION CONCEPT ARCHITECT PROJECT ARCHITECT SITE AREA GROSS FLOOR AREA LANDSCAPE ARCHITECT LANDSCAPE CONSULTANT ENVIRONMENTAL CONSULTANT QUANTITY SURVEYOR STRUCTURAL ENGINEER
SINGAPORE 2017 HASSELL RSP ARCHITECTS PLANNERS & ENGINEERS 12,850M2 14,330M2 HASSELL EARTHSCAPE CONCEPTS ARUP TURNER AND TOWNSEND ARUP
2 EMPLOYEES ONLY But that was not the only thing it analysed. Every single aspect of the design of GSK Asia House is done with its users in mind – so much so that it was built from the inside out. “We looked closely at what inspires and engages GSK’s people, before designing an agile, open and multi-layered campus that brings those aspirations to life all around them,” says Peter Dean, the Design Principal from Hassell for this project. Underscoring this examination were GSK’s Smart Working principles, which focus on providing its employees with a healthy, stimulating environment designed to encourage movement and collaboration. Dr. Andrew Epaphroditus Tay, Director of Health & Productivity – Singapore, Health Shared Services at GSK, points to the variety of reconfigurable workspaces, meeting venues and interaction spaces that encourage flexibility, collaboration and movement among the teams “GSK Asia House caters to the needs of our highly mobile workforce and enables a responsive and fast moving culture,” adds Dr. Tay. “The employee café, gym and various recreational spaces also enable more social activity on campus.” All these elements are accommodated in the open plan concept made possible through an offset building core. The interior space is shaped like a horseshoe, with a dramatic, full-building-height atrium in the middle. This also allows users to be horizontally and vertically connected both visually and through bridges and stairs. Positioned at the base of the horseshoe, furthest away from the main entrance, is the feature staircase zig-zagging six stories. Its sculptural appearance juxtaposes against the horizontal banding of each cascading floorplate, providing a diagonal counterpoint. “The simplicity of the design was achieved through a rigorous client design process that focused on GSK needs and aspirations, 66
and realised through the design team’s commitment to delivering a technically challenging building,” says Dean. “The design keeps people and ideas flowing freely across the workplace with all of GSK employees being able to achieve their shared goals.” NOD TO NATURE Equally important to Dean’s team was the concept of creating “a building in a park”. This references GSK Asia House’s location in Rochester Park, itself a lush garden with mature tropical trees and dotted with colonial heritage bungalows. Not wanting to lose that connection with nature, Dean and his team “extended
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Three-dimensional fins cascade down the front connecting the roof and porch of the driveway.
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The interior space is shaped like a horseshoe, with a dramatic, fullbuilding-height atrium in the middle.
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/ PHOTOGRAPHY CI&A, AARON POCOCK
/ WORDS CHARMAINE CHAN
PAST, PRESENT, FUTURE What happens when a forward-looking aesthetic and an ancient philosophy collide? The answer lies in the stunning architecture of Villa Otto.
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scend Jervois Hill on a blistering day in Singapore and you might believe that the amazing structure that meets your eyes is a fabulous mirage emerging out of a shimmering heat haze. Villa Otto, with its bold design and sculptured curves, accented by gleaming steel, creates the illusion of a spacecraft hovering above water. In fact, it is a tropical bungalow set amidst a pool. Massimo Mercurio, creative director of
the Italian-headquartered Mercurio Design Lab, worked closely with A.M. Architects to come up with the look of the house. He says that the hyper-modern silhouette was chosen deliberately. “We felt a strong affinity with the Futurist movement that shook Italy at the beginning of last century,” he explains. “We believe that dismantling mainstream design philosophies to replace them with something more dynamic and futuristic is the way to find new expressions and inspiration.” 79
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An unexpected sight in a quiet neighbourhood - a bungalow resembling a sleek spacecraft.
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The outward thrusting canopy contributes to the futuristic look of the house but also acts as an eave to protect it against the tropical weather.
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Clearly, with Villa Otto, he has done that and more. Seen from the top, the house is in the shape of two interlocking circular pavilions. It clearly describes a figure of eight, hence its name “otto”, which is the Italian translation. The owner had emphasised that feng shui was important, although he had not initiated the idea of using that number. In fact, the original design of the house had been based on the number 11, which was the homeowner’s lucky number. “But we felt that it was just not outstanding enough,” Mercurio recalls. “So we completely redesigned the house.” “The owner was interested in following feng shui, which is why we tried to include some of the guiding ideas of this old philosophy into the design. In the end, we decided to make the entire house a symbol of prosperity. “The number eight is auspicious, but it also celebrates the beauty of fundamental geometries, where ellipses and circles merge with mystical meaning.” Indeed, the form of the number was found to be so aesthetically pleasing that it recurs throughout the two-storey house – complete with basement and roof-top terrace – as a design motif.
It appears on door handles, on the travertine walls, in the steel feature-ceiling insets and even prominently on the steel portal, which marks the entrance to the house. The perfect geometry of the circle also lends the house its fluidity – there are no harsh angles, sharp abutments or jutting corners. Everything swirls, flows and curves: the swooping arches of the outward thrusting canopies; the smoothly rounded conical shapes of the travertine noce stone buttresses of the first floor; and most significantly of all, the stainless-steel cladding that wraps all the way around the second floor. The way the latter appears to mould itself to the shape of the house in one single sinuous piece is breath-taking. Mercurio admits that the same features that give the house its sculptural beauty also presented the greatest challenge when it came to the actual construction. Steel needed to flow, stone needed to be malleable, and glass needed to curve – and often, they could not find contractors or building companies to rise to the challenge, because it all seemed too complex or ambitious. In the end, they did much of the work themselves, directly managing the construction process. Thinking out of the box, 81
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INVITATION TO PAUSE Experience temporal distortion in this house through an architecture of apertures.
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oors dictate your life. They keep you safe, and if made of steel bars, keep others safe from you. So, it would take some bravado to design a house themed not around the life-shaping door, but instead the underperforming window, which architect Lee Cherng Yih of Formzero recently did. The result? A domain that is surprisingly bold and as arresting as a tractor beam. It is a statement house to trump other statement houses, with a hard-edge aesthetic you can either love or loathe. Unsurprisingly, with this much gravitas on display, challenges were abound.
PUSHING THE BOUNDARY “They’re an ordinary couple with basic home requirements,” says Lee, of his clients, a Chinese husband and wife, and their two daughters. “They did however want to maximise the internal gross floor area, and that meant very little room for landscaping.” Clients who have no interest in the outdoors, let alone nature, are a difficult proposition for any architect seeking to connect their design to surrounding greenery, which in this instance, was the native vegetation on the property’s southern slope. Privacy, of course, was paramount. And there was the matter of feng shui, or Chinese geomancy, to consider. Not capitulating to mundane solutions, Formzero chose the hard route, determined to achieve that architectonic-nature relationship by using the window as both a literal and metaphoric device, and at no expense to the homeowners’ privacy. 88
/ PHOTOGRAPHY RONSON LEE, TWINS PHOTOGRAPHY
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The west-facing apertures and roof skylights of the house’s immense concrete portal seamlessly connect indoor and outdoor.
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Varied windows, with their deepened steel eaves, bring contrast and movement to the expansive outer walls.
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Square apertures of different configurations create the dynamic and distinctive aesthetic of the Window House.
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Intersecting wall and roof planes of off-form concrete create the residence’s signature, polygonal portal.
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Rows of vertical timber strips both accentuate the main entrance and break down its visible height.
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Their gambit seems to have paid off: the very first “window” is the house’s most prominent feature, a massive three-storey concrete shell that frames 900m2 of pure building built almost to the boundary. East- and west-facing walls are punctuated by square apertures. Chamfered and of varying sizes, these windows conceal as much as they reveal, almost like a screen. And still, there are more windows, all of varying widths and heights, black-framed with deepened eaves, individually customised to the rooms that make up the stacked forms beneath the concrete overhang. Despite the high window count, the solidvoid balance is tightly controlled by spacing out the openings and avoiding clustering. It’s a visual spectacle on the outside that demands further investigation within.
INTROSPECTION Past the front door, the square apertures turn out to be an outer skin to an intermediate zone of planting that occupies the ground and first floors. The reason for this, according to Lee, is to make the landscape appear more like an indoor space. And they do. At ground level, foliage filters light through clear-glazed windows into a study, while upstairs, they function as both planting and privacy screen to the open-air bathroom of the master bedroom. Behind the west-facing wall, planting grows over a sky-lit triple-height void that can be looked into from bedrooms and corridors. These snippets of greenery are but teasers to a single defining moment: the revelation of a treeline panorama framed by huge glass doors, the proverbial forest edge brushing up against the house. Extending this imagery into the living and dining areas is a generous deck, a space that while planar, has become almost threedimensional, formed by the proximity of house and trees. It is here, on this threshold, that your perception of time slows down, as you take
SECTION AND ELEVATIONS
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SHAPING OUR FUTURE Ou Baholyodhin wants to work with designers and architects to define the way we live.
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ersonality. Understanding of global lifestyle trends. Passion. A common vision. These are the four elements that Ou Baholyodhin looks out for when he is searching for a designer or architect to partner with. “AS A DESIGNER MYSELF, I HAVE LEARNED VERY EARLY ON THAT [DESIGNERS AND ARCHITECTS] NEED THE TRUST AND SPACE TO DO WHAT THEY ARE BEST AT.”
It is important that he sets up these parameters, since he is the Chief Creative Officer (CCO) of Thai property company Sansiri, which develops at least 50 to 60 projects a year. His job has him managing the overall look and feel of the brand to deliver a distinct persona to its customers, “The role of CCO can transform the overall creative direction of properties, and ensure harmonious synergy between design and functionality, ultimately shaping the future of how people will live.” At the same time, given his background in design, Baholyodhin is careful not to stifle creativity at any level. “While I am responsible for setting the direction for the overall look and feel of Sansiri, I will give our partner designers and architects the freedom to deliver their best work. “As a designer myself, I have learned very early on that they need the trust and space to do what they are best at. My role is more to drive Sansiri’s vision to become a developer of intelligent properties that will shape the way people live in the future.” To this end, he is spearheading new residential projects to attract local and international clients to deliver to them homes that are created for a way of life. This is done through the newly-established Sansiri Creative Studio, which focuses on creating personalised enhancements for the company’s properties, to allow home owners to experience the comfort and functionalities of a modern yet bespoke home. “I believe that the current generation values experiences, and we hope to involve them in the process of creating their perfect home and inspire a truly unique home-buying experience for all our clients.” Prominent on his radar are the six international brands that Sansiri invested in last November that he hopes to leverage off.
They are boutique hotel operator Standard International; booking app One Night; Airbnb management company Hostmaker; co-working space provider JustCo; smart indoor farm company Farmshelf; and media brand Monocle. Baholyodhin comes to the table highly qualified. The 52-year-old has diverse interests and his nomadic tendencies have led him to study furniture and product design, architecture, political science, and cookery, just to name a few. “This means that I am not locked into a particular creative style. The most important factor shaping my creative style for each project is the overarching objective. “For example, as CCO of Sansiri, my style will be greatly influenced by its growing relationship with a more lifestylefocused audience, beyond the traditional real estate landscape. “We will focus on ensuring harmonious synergy between design and functionality, ultimately shaping the future of how people will live in the future.” Prior to joining Sansiri, Baholyodhin opened an eponymous design studio in London in 1997. Among the more prominent projects include the design and re-branding of K-Bars throughout the UK. In 2000, Jim Thompson came looking for a creative director, and convinced him to join them not once, but twice during his career (the second time was in 2013, as Creative Director for Home Furnishings). “It was difficult [to leave my design studio behind]. The hardest part was leaving the people, both colleagues and clients, as we have built such close relationships that I see them as family.” To date, he has clocked in 12 years at Jim Thompson, which obviously has made up a significant portion of his career. One of his many accomplishments include the transformation of its luxury textile business. “My proudest achievements are giving the brand a global perspective, looking at it as an outsider and offering a completely fresh point of view throughout the different projects,” he says, in retrospect. He adds though, that this is what he has always done throughout his creative career, “I will continue doing it in my new role at Sansiri, as I seek to define and create a clear brand image and the complete brand experience for our customers.” 117
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LIGHTING THE FUTURE / WORDS LOW SHI PING
“The bulb market is saturated with retro styling – it’s good to create something different.” So said British designer Samuel Wilkinson, who has soft launched Beem, a lighting brand that specialises in LED lamps. Debuting alongside it are two creations, Smile and Curli, that put a fresh spin on lamps. For starters, their filaments are not encased within the bulb. Also, instead of flowing down from the holder, as most do, their forms go upwards. Smile comes with the flexible filament
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as a straight line, up-tilting curve or U-shape, attached to a ceramic base. Curli is a swirl that coils around the bulb holder, inspired by calligraphy. Sculptural, contemporary and even forwardlooking, they shrug off the retro-chic and vintage industrial aesthetic that is so common today. Each piece is made entirely by hand and leverages the latest soft-filament LED technology that uses minimum energy and will shine bright for up to 30 years.