H AW O RT H C O L L E C T I O N M A G A Z I N E 2 0 1 4
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CONTENTS
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WELCOME
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BEAUTY IS A PLEASURE
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Uncovering the DNA of an Eclectic Collection
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CAPPELLINI: EXPRESSIONS OF
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BOLD ADVENTURE AND SURPRISE 24 Hours with Giulio Cappellini
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Jasper Morrison
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What’s on Marcel Wanders’ Playlist?
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CASSINA: TRANSFORMING PIONEERS
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I N T O D E S I G N G R E AT S Fondation Le Corbusier & Cassina: A Collaboration for the Ages
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P O LT R O N A F R A U : L E AT H E R
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S E AT I N G B O R N E O U T O F BEAUTIFUL CONTRADICTIONS Intelligent Hands
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HAWORTH COLLECTION:
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T H I N K I N G A W AY F R O M T H E P R E S E N T, I N T O T H E F U T U R E
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Nicolai Czumaj-Bront
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Plia
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T H E H E A R T O F G R E AT D E S I G N
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( I N A N Y F O R M I T TA K E S )
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Charlotte Perriand in the LC4 Chaise Lounge Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina It is well known that the most famous Le Corbusier® and Pierre Jeanneret models would perhaps never have existed as we know them had it not been for Charlotte Perriand. Recognized by Le Corbusier as having extraordinary talent for interior design, Charlotte was loyal to the concept of the master, yet free to steer it to its end result.
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BENVENUTO! Since first introducing the Haworth Collection to the market in 2011, we’ve taken great pleasure in shaping its development and observing the design community’s enthusiastic response. Now, with the publication of this magazine, we’re pleased to share with you some of the stories behind the Haworth Collection and its unforgettable designs. Follow Giulio Cappellini through a typical day as he seeks out the brand’s next talented designer; read about the “intelligent hands” of Poltrona Frau’s leather craftsmen; take a peek into the in-house design studio at Haworth; and hear Giancarlo Piretti share about his original inspiration for the iconic Plia chair. Together, the stories in this magazine clearly demonstrate that the Haworth Collection is made up of more than just a selection of beautiful seating, tables and casegoods. It also encompasses many people, cultures, histories and partnerships, as well as an exciting vision for the future— a collection of the new designers and designs that will also be seen as “iconic” one day. At Haworth, we believe it’s our calling to identify and build relationships with the greatest design talent in the world, and then to ensure their pieces are available to lovers of great design, like you. For me personally, the most important element of the Haworth Collection is the opportunity to explore new cultures, to develop new relationships and to help nurture strong emotional connections between the people who design, build and ultimately use our products. It’s our hope that this magazine will play a role in doing exactly that. Enjoy!
f r a n c o
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Haworth, President and CEO
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NC-B RESONATE, Haworth Collection
BEA UTY i s
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THE STORY OF HOW A DEEP LOVE FOR DESIGN BECAME THE HEART THAT GIVES LIFE TO THE HAWORTH COLLECTION.
A
sking Franco Bianchi when he first fell in
That model started to take shape about three
love with design is a bit like wondering
years ago, as Bianchi began talking with others
when a fish fell in love with water.
about his vision. One key player in making
“I’m Italian, so I grew up in the middle of art and
the Haworth Collection a reality is Dan Tuohy, President of Tuohy Furniture, a Minnesota-
design,” says Bianchi, Haworth’s President and
based wood casegoods company that Haworth
CEO. “It’s hard to point to any specific moment
acquired part ownership of in 2009. Bianchi and
or object that impacted me. I just grew up with
Tuohy were together at the Orgatec show in
an appreciation that beauty and harmony are
Cologne, Germany, in January 2010 when the
a pleasure, they make a difference in the world.
idea began to crystallize.
It’s just how I am—it’s almost like having another sense.”
“We were looking at all the products there, all the beautiful things the North American market
With this “design sense” so embedded in his
doesn’t have access to,” says Tuohy. “And that
being, it’s no surprise that Bianchi, upon joining
whole time we were talking about design—what
Haworth Italy in 1992 and then coming to the
it takes to make pieces that people get really
US in 2002, had big plans for how to elevate the
excited about. We realized that we could come
company’s love of design to new heights.
up with something fresh together, with Franco’s passion for design and the big mothership of
“Putting beauty at the heart of our business was
Haworth behind him, and with my experience
important to me from the beginning of my time
in a more nimble, experimental side of the
at Haworth,” Bianchi says. “I always felt that we
design business.”
needed to put together a foundation of classics, designed by great designers from around the
Before long, the Haworth Collection was born.
world. But that was not to position us in the past,
Tuohy was put in place as Collections Manager,
it was more of a starting point—a way of creating
and the Haworth Collection was ready to meet
a design culture that moves us forward.”
the world in the spring of 2011 at ICFF, the International Contemporary Furniture Fair in
Bianchi says building a stronger connection with
New York.
the design community was a central goal. “We wanted that level of design credibility, so we
“We had over 70 great products and a new brand
needed an execution model to move us from the
up and running in just a couple of years,” Tuohy
idea and spirit of this to the reality.”
says. “Italy was a great place to start creating partnerships. They had these great pieces that weren’t being branded and brought to market, and Haworth was able to make that happen.”
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Bianchi says part of the beauty of the Collection
the emotional side of design and spaces, so
is rooted in its relationship with Haworth.
they connect with the Collection. And more experienced designers are seeing us in a
“Haworth is better because of the experimentation of the Collection, and the
different light, too. It’s given us a platform for starting a different type of conversation.”
Collection is better because of the science of Haworth. That’s why it was important that we
Even with its impressive lineup of iconic names
called it the Haworth Collection, that the two
and designs from the past, Casey, Bianchi
be directly connected and create a continuum,”
and Tuohy are most excited about where the
Bianchi says. “One drives the other to a better
Collection is going.
place. We can celebrate the differences and strengths of the two as well as a fusion of
“The goal is not just to be a reseller of great,
the two.”
classic designs, but also to produce exciting,
Mabel Casey, Haworth’s Vice President of
of the future as we are of the past. We’re
new designs,” says Tuohy. “We’re as cognizant Global Marketing and Innovation, says the
constantly seeking out new designers who will
creation of the Collection is opening new
create new pieces for these exciting brands—
conversations and opportunities for Haworth.
pieces that in 20 years people will recognize and say, ‘Oh yeah, that’s a killer piece.’”
“The Collection helps us connect with designers, and interface on different types of products
THEREIN LIES THE GREAT CHALLENGE—AND THE GREAT FUN— OF BUILDING ON THE BEST DESIGNS OF THE PAST, INTO THE FUTURE. “Freedom and flexibility are very important parts of the Haworth Collection,” Bianchi says. “It needs to always be some type of experiment, something that cannot be squashed
“It’s easy to have beautiful, iconic pieces from
by a business model. Each piece added to the
with different types of customers,” Casey
the past,” adds Casey, “but you have to always
Collection needs to have a unique perspective,
says. “We’ve also worked hard to reach young
be out there looking for new designers with
quality materials and a very personal connection
designers and this has really helped with that.
new stories and experiences, and different
with people. That passion for beauty and
They’re more connected to the experience,
perspectives from all over the world, not just
pleasure through design needs to always be
Europe and North America.”
central as we move forward.”
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Members of a family share DNA and certain characteristics. Pieces in a clothing line or furniture line do, too—they look like they belong together.
BUT WHAT MAKES A COLLECTION, A COLLECTION?
W
hen it comes to the Haworth
In just three years, the Haworth Collection and
Collection, which was introduced
its three primary brands—Cappellini, Poltrona
to the market in 2011, the answer is
both abundantly clear and refreshingly malleable.
Frau and Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina—have started
That’s because knowing great design when you
to “significantly move the needle” when it
see it is more an emotional knowledge than an
comes to Haworth’s design reputation, says
intellectual one, says Franco Bianchi, President
Mabel Casey, Haworth’s Vice President of Global
and CEO of Haworth.
Marketing and Innovation.
“Great design is not intellectual—it’s a cultural
“When designers are working on a space, this
encounter, a personal connection,” says
group of (Haworth Collection) products gives
Bianchi. “ This is the sense we rely on in building
them a chance to really make a statement—to
the Collection.”
create a powerful first impression, an identity
Bianchi has encountered an abundance of great
doesn’t do that. Workplace design is not just
design in his life, between growing up in Italy
about creating efficient workspaces.”
point,” says Casey. “A lot of office furniture just
and cultivating a storied career in the furniture design industry. One of his primary goals at
It doesn’t hurt, of course, that the three brands,
Haworth, since becoming President and CEO in
part of the Haworth Collection, include iconic
2005, has been to elevate the company’s design
pieces and acclaimed designers. From Tom
reputation—to make Haworth a go-to for great
Dixon’s S‑Chair and Marcel Wanders’ Tulip
designs that work their way into the emotions of
seating, to Giancarlo Piretti’s Plia folding chair
people who “have to have them.”
and the lounge seating by Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina, the Collection is packed with pieces that generate those deep, emotional connections— connections that reach beyond “I like that piece,” to “I have to have it.”
Products featured (clockwise from top): LC4, Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina; VANITY FAIR, Poltrona Frau; DSC AXIS 10000, Haworth Collection; SHETLAND, Haworth Collection; CLOUD, Cappellini.
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“When I buy from the Haworth Collection, it’s not just a business transaction, it’s a personal connection,” says Bianchi. “It says we think the same and see the same, and we value harmony, the pleasure in great design.” While there are characteristics that the Collection’s pieces have in common—such as refined craftsmanship and the emotional pull of inspiring design—the 70+ pieces that make up the Haworth Collection are also strikingly diverse, created by designers of different eras and sensibilities, from all over the world. But in many ways, this pliable nature of the Collection, and the diversity and freedom it allows, is just another characteristic at the
PART OF THE BEAUTY OF A COLLECTION IS THAT IT CAN BE MORE ECLECTIC— MORE ABOUT DESIGN FREEDOM AND CHOICE.
heart of the Haworth Collection, says Kurt VanderSchuur, Haworth’s Corporate Brand Director. “Part of the beauty of a collection is that it can be
The challenge for the Haworth Collection
more eclectic—more about design freedom and
moving forward, Bianchi says, is to “take a
choice,” says VanderSchuur. “That freedom is
business proposition and make it an emotional
apparent in the Collection’s global influence.
proposition … to have designs that stand out
The Collection celebrates this global flavor,
from the blur, the cacophony of all the choices
working with fresh, up-and-coming designers
that are out there.”
from all over the world. We’ll keep evolving, because the world is changing.”
And that challenge lies not just with the classic pieces that are already a part of the Collection, but also with new designers and designs, into the future. “We want to applaud past designs and be proud of what we’ve done, but we don’t want to sit back and be content with what we have,” says Dan Tuohy, Collections Manager. “It’s a growing, ever-changing collection.”
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Products featured (clockwise from top): INOUT, Cappellini; COLLABORATE, Haworth Collection; QUADRA, Poltrona Frau; KENNEDEE, Poltrona Frau; LC1, Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina.
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c a p p e l l i n i
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pon first seeing the full Cappellini
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“Giulio is really a talent scout,” says the brand’s
family of furniture, pinpointing a family
spokesperson. “He travels all over the world
resemblance might seem difficult. The
looking for talented new designers. He has an
pieces certainly share a bold sense of adventure,
amazing passion and eye for design—he knows
but that’s a trait that inevitably expresses itself in
what he likes and how to get it made.”
divergent ways. “He’s also a mentor. There’s a real collaboration And yet, somehow, Cappellini designs do look
between the designer, Giulio, and the
like they belong together—like they have a very
craftsperson making the furniture. Giulio works
significant commonality.
with young designers—he believes in them, and works to make their dreams come true.”
That’s because they do. They share the design vision and heart of a single man,
These “explorers of design between imagination
Giulio Cappellini.
and reality” have created a line of furniture that makes the dreams of design lovers around the
The son of Enrico Cappellini, who in 1946
world come true, too. Cappellini’s collections
opened the small workshop in Carugo, Italy
include works by Marc Newson, Jasper Morrison,
and gave it his family name, Giulio joined the
Marcel Wanders and Tom Dixon. Currently, 18
company as the Art Director in 1977.
Cappellini pieces are included in the permanent Design Collection at the Museum of Modern Art.
“Giulio’s personality is really at the heart of the Cappellini brand,” says a representative of
“Cappellini puts Haworth Collection up there
the brand. “There are about 150 pieces in the
as cutting edge, ensuring that they’re taking
collection, designed by more than 50 designers,
on the newest international talent and bringing
so it’s very eclectic, yet it feels like a cohesive
their designs to the contract market,” says
collection. No one else can do that. Giulio is
the representative.
essentially acting as a curator, pulling in this vast array of styles. Somehow, he gels them all together.”
“I go to Milan every April, and I know I’m always going to see something new I love by Cappellini. When the pieces come out, they’re ahead of
Before taking the lead at Cappellini, Giulio
their time—they’re creative, bold and innovative,
trained as an architect in Milan, studying with
improving on the past and doing something
many important architects and designers. After
exciting, daring and new.”
graduating, he worked as an intern in Gio Ponti’s studio, a position that not only sharpened his eye for design, but also inspired a passion for mid-century design—a passion that has shaped Cappellini. But that hardly means Cappellini—the company or the man—is stuck in the past. It would be impossible for Cappellini to get stuck, because Giulio never seems to stay in one place.
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2 4 H OU RS w i t h
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g i u l i o
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6:30 AM The first thing I do each day is take a long shower, whether I’m at home or traveling. I always dress in a very classic way. I like beige, browns and blues—I’ve never worn anything black and I don’t wear bright colors. My typical uniform for the work day is a Brooks Brothers button-down blue shirt, a blue jacket, a beige or blue V-cut cashmere pullover and brown John Lobb shoes. I can never give up on a pochette in my jacket (translator’s note: pocket handkerchief)—I have an extensive collection of them by Hermès. I really like accessories in general, such as belts, wallets and briefcases, always Hermès.
7:15 AM Breakfast is very important to me. I drink black tea with milk, biscuits or bread with jam, orange juice and have an espresso to finish.
8:00 AM More than two hundred days of the year I am traveling, and I love it! When I am not traveling I go to my office in Meda, the town near Milan, where the Cappellini production is carried out. I like to go to the office early in the morning. I take my car there, since it’s out of town, and I enjoy listening to classical and contemporary music as I drive.
THERE IS ALWAYS SOMETHING NEW AND EXCITING TO DISCOVER, AND NEW PEOPLE AND THINGS TO KNOW. —GIULIO CAPPELLINI
LUXOR, Cappellini
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9:30 AM
7:45 PM
My office is simple and bright. I work on a white
Dinner is the most important meal because it
desk and I sit on an office chair in blue fabric,
is the only time of day when my whole family is
both designed by Jasper Morrison. In my office
reunited. I really enjoy being at the table eating
I also have many books and travel souvenirs
a plate of pasta or risotto followed by a second
or gifts from friends. I do not use computers, I
course. This is the only time of day when I can
really like to write by hand.
eat in relaxation.
11:00 AM
My favorite restaurant is Le Langhe in Milan in Corso Como 6. I feel at home there and they cook the best pasta with tomato sauce in the
I see a lot of people at work during the day and
city. I prefer dinners with a few people in quiet
I think I’m quite extroverted although I often like
restaurants where you can talk and spend
to be alone, to have time for myself and to think.
time pleasantly.
I am very selective towards people, especially
9:30 PM
new. I have little time and I like to spend it with people whom I consider interesting and can enrich me. I hate arrogant people or who have
When I am not traveling, I usually spend my
no respect for the work of others—I tend to
evenings at home. I read thrillers, coming
ignore them immediately.
from one of my daughters who has a passion for them, and I like to read magazines or
1:15 PM
newspapers about design, art and architecture.
At lunch I eat very little—maybe a plate of ham
Sometimes we go out to hear music. I love to
and some fruit. The pause is very brief. When I
listen to the Opera at La Scala in Milan (Verdi
travel I often have lunch or dinners with friends.
and Rossini). For the contemporary music
I always like to try the local cuisine.
I really like Bruce Springsteen and Justin
I like to touch the paper, I do not use tablets.
Timberlake. I often go to concerts with my wife
4:00 PM
and my children, like Madonna, Lady Gaga, etc., ... I am interested in concerts not only to hear the music, but to observe the
I return to Milan in the afternoon for appoint-
choreography, videos and special effects.
ments. When I’m in the city I love to walk, rather than drive, and when I’m on vacation I almost exclusively ride a bicycle to get places.
2:30 PM
11:00 PM Normally when I am at home I go to bed quite early, around 11 PM. Before going to sleep, I drink a glass of water.
BONG, Cappellini
In the afternoon I like to drink a cup of coffee and eat a piece of dark chocolate, which I love.
While traveling my habits remain the same.
But I have little time to relax. I relax especially
Although often I do the same things each
during the weekend, going for walks or skiing in
day, it is not true that every day is like another.
the winter.
There is always something new and exciting to discover, and new people and things to know. The important thing for me is to keep a good spiritual relationship with myself and not become a machine!
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j a s p e r
MOR RIS ON
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TO PRODUCE EVERYDAY OBJECTS FOR EVERYONE’S USE, MAKE THINGS LIGHTER NOT HEAVIER, SOFTER NOT HARDER, INCLUSIVE RATHER THAN EXCLUSIVE, GENERATE ENERGY, LIGHT AND SPACE. — J A S P E R M O R R I S O N , design mission
Products featured (clockwise from top left): GLASS FAMILY, produced by Alessi; WALL CLOCK, produced by Muji; THE COUNTRY TRAINER, produced by Camper; DP01 TELEPHONE, produced by Punkt; KNIFE FORK SPOON, produced by Alessi; TRASH, produced by Magis.
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W H AT ’ S O N
MARCEL WANDERS’ P L AY L I S T ?
1. Jacob ter Veldhuis
DUTCH AVANT-GARDE
2. Lemon Jelly
BRITISH ELECTRONIC
3. Chords
SWEDISH HIP HOP
4. Johann Sebastian Bach OPERA
5. Richard Wagner OPERA
IF I HAVE ANY BASIC MOTIVATION IT’S TO INSPIRE, SO MY BIGGEST PROJECT IS MY LIFE AND I WILL MAKE IT A MASTERPIECE. —MARCEL WANDERS
Photo by Erwin Olaf 26
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canning a list of Cassina designers and
The development of foam in the early 1960s,
architects, it wouldn’t be surprising for
for instance, “allowed for an explosion of new
a design student to assume the names
shapes and designs for furniture,” Armento
represent a brief history of modern design,
says. The new material also planted a seed in
stretching from the pioneering work of Gio
the minds of the Cassina family and Gio Ponti
Ponti to the conceptually innovative designs of
for a collaboration with the great architect Le
Philippe Starck.
Corbusier. Cassina and Ponti had long admired Le Corbusier’s furniture designs of the 1920s, but
Cassina was founded in 1927 with admirable,
limited material choices at that time meant the
but perhaps modest aspirations: to handcraft
pieces weren’t commercially viable when they
the finest high-end wood furniture. Many similar
were first introduced. (Read more about the Le
furniture workshops were being established in
Corbusier collaboration in the following article.)
the Brianza region of Italy at the time, but the Cassina brothers developed their business with
Today, the Le Corbusier, Pierre Jeanneret and
an important distinction: an eagerness to
Charlotte Perriand by Cassina line is the focus of
identify and collaborate with like-minded,
the Haworth Collection’s Cassina brand. Cassina
talented designers.
continues to hold the licensing agreement for Le Corbusier, Pierre Jeanneret and Charlotte
In the 1950s, Cassina initiated its first
Perriand furniture designs, making it the world’s
collaboration with architect Gio Ponti, who
only manufacturer of these authentic pieces.
became an important figure in the creative direction of the company—a big leap for Italian
“The Le Corbusier, Pierre Jeanneret and
furniture companies of the time, according to
Charlotte Perriand pieces sold by the Haworth
Cassina Brand Director Gianluca Armento.
Collection are authentic as they belong to the Cassina collection. Cassina acquired the rights to
“Cassina became one of the first furniture
produce these pieces in 1964, when Le Corbusier
companies to employ outside architects and
himself was still alive,” says Armento. “Today, the
designers to design pieces for them—before
company works in close collaboration with the
that, everyone was designing their own pieces
official Foundation and heirs.”
in-house,” says Armento. “Cesare Cassina and Gio Ponti were responsible for picking up great
To spot the real thing, Armento says, look for
designers and making design central to what
three signatures on every Le Corbusier, Pierre
Cassina was about. It was during this time, in the
Jeanneret and Charlotte Perriand by Cassina
1950s, that Cassina really began to flourish.”
piece, along with a serial number which corresponds to the item’s identity card. Cassina
Cassina was also open to taking the company’s
has also created a web page so clients can see
historical strengths and progressing with the
what is behind the creation of an original design.
times, experimenting with new materials and
(lccollection.cassina.com)
industrial processes. While Cassina holds fast to its Italian design ideals—craftsmanship, quality
“Le Corbusier, Pierre Jeanneret and Charlotte
and beauty—its artisan-style production readily
Perriand’s designs wear well, and even look
blends with the innovative industrial technology
better as they get older,” Armento says.
of the moment.
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F O N D AT I O N L E C O R B U S I E R & C A S S I N A a collaboration for the ages
L
e Corbusier was born in Switzerland in 1887, as Charles Edouard Jeanneret. In 1920 he adopted the pseudonym Le
Corbusier for his architectural persona, derived from his maternal grandfather, Lecorbesier. A pioneer of what is now called modern architecture, Le Corbusier was dedicated to using modern industrial methods and materials to provide better living conditions for the lower class residents of crowded cities. He was always attuned to the proportions of the human body and considered many of his furniture designs “human-limb objects” or “extensions of our limbs.”
On opposite page: Le Corbusier on an extended stay in Vichy, 1941.
This page, left: Mise Au Point, written by Le Corbusier, and published in 1966. Right: Immeuble Molitor, 24 rue Nungesser et Coli, Paris, France, 1931–1934.
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LONG LIVE THE GOOD TASTE MANIFESTED BY CHOICE, SUBTLETY, PROPORTION AND HARMONY. —LE CORBUSIER
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On opposite page, left: Le Corbusier meeting Albert Einstein, 1946. Top: LC4 at Maisons La Roche-Jeanneret, Paris, France, 1923–1925. Bottom: Chapelle Notre Dame du Haut, Ronchamp, France, 1950–1955.
This page, top: Building the Cabanon in Roquebrune Cap Martin, Le Corbusier’s holiday resort, 1950. Bottom: LC1, Le Corbusier, Pierre Jeanneret and Charlotte Perriand by Cassina, 1928.
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s it possible to be classic and contemporary at
c o n t r a d i c t i o n s
And when it comes to the materials, only
once? Both delicate and sturdy? Utterly Italian,
the finest quality, full-grain leather is even
and yet at home around the world?
considered for the honor of bearing the name ‘ Pelle Frau®,’ which first goes through a
Poltrona Frau is the physical expression of many
21-step tanning process (most companies use
apparent contradictions. Of all the paradoxes,
a 12–15-step process). The result is a leather
the one that perhaps best sums up the company
with tactile warmth and softness that, thanks
is this: crafting Poltrona Frau chairs requires
to the research and high quality of the raw
meticulous skill and labor, yet the end result is
materials, maintains contract-grade durability.
the ultimate invitation to relax. “The thing about Pelle Frau® leather is that it For more than a century, the Italian company
seems so soft and almost delicate, but it’s
has remained true to what it does best—fine
so durable it’s even used in the automotive
craftsmanship and leather upholstered products.
industry (by Ferrari and Maserati),” Archetti
And yet, Poltrona Frau hasn’t been content to
says. “With the Poltrona Frau products, so
get too comfortable in the past. A future-focused
much is invested in them—time, vision, process,
orientation has motivated Poltrona Frau to keep
craftsmanship—and you can tell. These things
integrating new processes, collaborating with
really make a difference.”
prestigious designers and architects and looking for new opportunities around the world.
Today, these longstanding traditions are woven into the more contemporary side of Poltrona
“Poltrona Frau is both classic and contemporary,” says Roberto Archetti, Poltrona Frau Brand
Frau, which is always evolving as the company seeks new partnerships, new designers and new
Director. “It’s about bringing together
materials and production techniques. In the
heritage and innovation, and coming up with
early 1960s, Poltrona Frau began developing
something new.”
a more contemporary approach to its designs, celebrating new shapes. To push their designs
Poltrona Frau’s roots reach back to 1912, when
forward during that time, Poltrona Frau began
Sardinian-born Renzo Frau started the company
seeking partnerships with great designers like
in Turin, Italy. The focus was on producing sofas
Gio Ponti, who designed “Dezza” for them
and armchairs crafted by traditional furniture
in 1965.
artisans and upholstered with the finest leather. The company’s foundational commitment to
As they’ve moved their product line into the
excellence even earned it an appointment as the
future, collaborations and partnerships have
official supplier to Italy’s Royal House in 1926.
continued to be a priority for Poltrona Frau. From
That stubborn attention to quality hasn’t budged
cars in 1998, to the 2003 collaboration with Frank
in 100 years. Poltrona Frau’s workshop still
Gehry, who designed the Poltrona Frau armchairs
the invitation by Ferrari to begin upholstering its
bustles with expert craftspeople—some who
for his Walt Disney Concert Hall in Los Angeles,
are second- or third- generation employees of
Poltrona Frau seems to be doing something
the company, using their father’s or grand-
innovative and new at every turn, never losing
father’s tools.
sight of its bright future—or its rich past.
35
i n t e l l i g e n t
h a n d s
WHEN ARTISANS USE THEIR HANDS THEY TRANSFER THEIR INTELLIGENCE IN WHAT THEY ARE DOING. —ROBERTO ARCHETTI
I
n a world where great minds are valued
Poltrona Frau, which has been committed to
and admired, Poltrona Frau celebrates a
creating the finest leather seating since 1912,
different kind of intelligence: an intelligence
when the company was started by Renzo Frau in
of the hands.
Turin, Italy.”
Roberto Archetti, Brand Director of Poltrona
Today, more than a century later, some things
Frau for a quarter of a decade, explains what this
have changed at Poltrona Frau, but a remarkable
means in the Poltrona Frau workshops.
number of tools, techniques and materials have remained the same. Archetti says the most
“When artisans use their hands they transfer their intelligence in what they are doing,” Archetti
common response from visitors touring the workshop is amazement.
says. “In other words, they are able to transfer the culture and the values of Poltrona Frau in every single product they make. This is what we
“All clients, editors, designers and architects who visit the factory are literally fascinated by the way
call the ‘intelligence of the hands,’ and the result
we do our products, and by understanding what
is extraordinary.”
is inside our products,” he says. “Spending a day observing in the workshop is a sort of rush
So extraordinary that what might otherwise
course to perfectly understand the soul and the
be a “nice” leather chair becomes a work of
identity of Poltrona Frau, which is in every one of
art—one that grows in beauty as it ages, and
our chairs.”
almost seems to have a soul. “At the very least,” Archetti says, “each chair carries the soul of
37
i n t e l l i g e n t
h a n d s
The company’s leather, Pelle Frau®, is the key
It’s this unique leather tanning process that
element tying the craftsperson to the chair, and
ultimately results in a chair that can be passed
the chair to the person who ultimately owns and
down for generations, just as the skills of
sits in it.
Poltrona Frau craftspeople have been passed down for generations.
“Pelle Frau® leather is a trademark, meaning that the tannery process goes through additional
“Our craftsmen are properly trained by their
steps, if compared with the leather generally
elder colleagues, who have more experience
used in the furniture sector,” Archetti says.
and who can pass their skills to them,” Archetti says. “ The young generations learn the process
“The whole tanning process is developed in the
within the factory and they improve their skills,
Poltrona Frau internal laboratory, along with the
every single day, by doing their job under the
tanneries we work with. This method guarantees
eye of a supervisor.”
strict control of the quality. We also use only full grain leather, the most superficial layer of the
At the end of the day, this sense of tradition
dermis that has exceptional performances
is at the heart of what Archetti loves about his
and features.”
job —“Thinking that I am contributing to carry on Italian excellence worldwide.”
38
EACH CHAIR CARRIES THE SOUL OF POLTRONA FRAU, WHICH HAS BEEN COMMITTED TO CREATING THE FINEST LEATHER SEATING SINCE 1912.
39
h a w o r t h
T
c o l l e c t i o n
:
t h i n k i n g
a w a y
f r o m
t h e
p r e s e n t
,
i n t o
t h e
f u t u r e
he Haworth Design Studio team devotes a
The development of Haworth’s social science
And when it comes to working together, the
lot of time to the work one would expect,
research arm Ideation, in 1995, has played an
relationship between the Design Studio and the
important role in the Design Studio’s approach
Haworth Collection is also important. Each group
they also rely on something that seems almost
to design. Ideation shares its findings with the
benefits from the other.
contradictory to the act of making: Whitespace.
in-house designers, who then apply the research
like drawing, designing and creating. But
to their work. Studio calls time that’s devoted to setting aside
For the Studio, just knowing the Collection is there inspires them to explore and innovate.
“Whitespace” is what the Haworth Design “In the mid-90s, we were the only ones in the
pressing, practical matters so creativity and
industry who put scientists with designers,”
innovation can flourish.
Reuschel says. “That was significant.”
“Designing for the Haworth Collection is an opportunity to take some greater artistic risks— to do something more iconic, with a historical
“It’s about thinking away from the present into the future, on products that might be three or five
Design Studio projects are initiated in a variety
reference point, and to explore more with
of ways. In some cases, Haworth’s Product
materials and forms,” Reuschel says.
years out,” says Nicolai Czumaj-Bront, a Studio
Marketing group brings specific product needs
designer. “Designers have to be comfortable
to Studio designers; other times, designers
And the Collection benefits from having a new
with the unknown. They have to be comfortable
are developing their own ideas about what the
generation of in-house designers who are in-tune
exploring, and not always knowing the answer
market needs.
with the Collection’s vision for the future. The Studio also helps find outside designers who fit
right away. That’s what Whitespace is about.” “To be innovative, part of what we need to do is That same spirit of exploration was at the heart
say, ‘Let’s forget what the industry is telling us
of Haworth’s decision to form an official design
we should make. What do WE think we should
department in 1982—long before Whitespace
make?’” Reuschel says.
was conceived. Jeff Reuschel, now Global Design
the Collection’s design ideals. “There are a lot of big names in the Collection, but it’s also very open to designers you haven’t heard of yet, but we expect you will,” Reuschel
Director of the Haworth Design Studio, was
As part of the Haworth Design Studio team,
says. “Part of the Design Studio’s role is finding
one of the first three industrial designers in the
Czumaj-Bront does a bit of everything, from
those designers. It’s all about moving Haworth
brand-new department; today, the Design Studio
collaborating on specific “assignments” to
forward in important ways.”
has nine designers based in North America,
working solo on his own ideas. Most designers
working with other designers, engineers and
in the Studio have certain areas of expertise and
scientists around the world.
responsibility, but hard and fast lines are avoided. The freedom to move around, collaborate and
Reuschel says the department was formed to
experiment is critical to maintaining the creative,
leverage the benefits of using both inside and
innovative spirit of the Studio.
outside designers. The combined approach is key, because each group brings important strengths to the table.
“Having that kind of freedom and flexibility is a very important part of my design process,” says Czumaj-Bront. “I like to be working on more than
“Outside designers have the advantage of broad access to information, like processes
one thing at a time, and to be collaborating with
HAWORTH DESIGN STUDIO
different people.”
Nicolai Czumaj-Bront, Liz Johnson, Steffen Lipsky,
and ways of thinking in unrelated fields, which can lead to fresh ideas,” Reuschel says. “Internal
Ralph Reddig, Jeff Reuschel, Iain Thorp, Bob Wayner,
“One thing we hope to have in the Studio is
Michael Welsh, and Dan West
designers understand their subject and the
diverse points of view—a diverse approach to
specific workplace environments we’re designing
problem solving,” Reuschel adds. “There also
Designers featured on opposite page
for really well. When inspiration strikes, we’re
needs to be a diverse approach to the level of
(clockwise from top):
ready to apply it directly to a workplace product,
abstraction and attention to detail. You obviously
Bob Wayner, Liz Johnson, Stanley Felderman and
because that’s the realm we’re always
need both, but it’s rare to find a designer with
Nancy Keatinge, Jeff Reuschel, Chris Adamick
thinking in.”
all those strengths. That’s why it’s important to create a team who can work together.”
41
42
n i c o l a i
c z u m a j
-
b r o n t
:
h a w o r t h
c o l l e c t i o n
WHAT DO YOU GET WHEN YOU CROSS A
GRAPHIC DESIGNER AND AN
ENGINEER? AN INDUSTRIAL DESIGNER, OF COURSE.
43
44
n i c o l a i
T
ruth be told, Nicolai Czumaj-Bront spent
c z u m a j
-
b r o n t
:
h a w o r t h
c o l l e c t i o n
Today, he is a designer in the Haworth
design. There are also the stories and lives of
a few years trying to avoid this fate, even
Design Studio, an in-house incubator of fresh,
the people who will be using the products. As a
though it was in his blood, thanks to his
innovative design ideas. The designers work
designer you can imagine them and put yourself
graphic designer mother and engineer father.
closely with the Haworth Collection to develop
in their place in a way that’s very human. It’s
Even his grandfather was a master model maker
new directions and designs to join the iconic
the intent that gives you the result. If you start
and carpenter, while his other grandfather hand-
pieces Czumaj-Bront studied and admired long
with people and their stories, you’ll get a more
crafted furniture as a hobby.
before joining Haworth.
human result.”
“Design is in my blood, but I reached a point
“It’s pretty amazing to have my designs in a
N-CB Resonate, the design that garnered a
when I got kind of tired of it,” he says. As an
Collection with many of the great furniture
NeoCon Gold in 2008, is an example of the
undergrad, Czumaj-Bront chose to study
designers I studied in school,” he says.
philosophy and psychology, but ultimately, his interest in human behavior only sealed his fate.
When it comes to what inspires and drives Czumaj-Bront’s own work, he says his approach
“I had all these ideas, but no good way to express
to people and stories is key.
them. I needed a tactile output, a way to turn an idea into an object. I decided I wanted to work with my hands.” Czumaj-Bront entered the Industrial Design
simplicity, timelessness and sense of story embedded in Czumaj-Bront’s work. “The idea for Resonate came when I was traveling a lot between the flat plains of Illinois, where I was in school, to the hills of Ohio, to see
“There’s this idea of designers wearing all black
family,” he says. “Then the two-tone look came
and being aloof and exclusive, but good design
from a photo taken in my parents’ backyard, of
is a very inclusive thing. It’s all about your
a tree with snow just on half of it. It gives the
surroundings, about the people around you, the
piece its dimensionality, through positive and
program at the University of Illinois at
stories you hear. You have to be in tune with all
negative shapes. It’s a piece rooted in place
Urbana-Champaign.
of that, and able to bring all the facets together
and memories.”
to be a good designer.” “It was a serendipitous thing,” he says. “Industrial
Czumaj-Bront also likes playing with materials
engineering balances art, design and engineer-
Simplicity is another characteristic that runs
ing —it combines them all. Once you begin
through Czumaj-Bront’s work, but that doesn’t
imperfections speak to him, reflecting a
down that path it becomes your lifestyle, the way
mean N-CB designs embody a “signature look.”
different aspect of what it means to be human
you see the world—how you listen to people and watch them, and how you interpret and
and letting them guide his designs. Even
in this world—and, perhaps, what it means to “When I was younger I tried to define a style.
be a designer in the Haworth Design Studio:
reinterpret what you see.”
Then I realized my design solutions were
celebrating freedom in discovery and beauty in
hindered by the idea of a defined style,” he
an imperfect world.
More than a decade after graduating with a
says. “ I didn’t want to be limited. If there’s any
BA in Industrial Design, it’s clear that Czumaj-
unifying factor in my designs, it would be that
Bront, now 35, was right to follow serendipity’s
there’s always a story behind my ideas.”
lead. In 2005, he joined Haworth, after being
“I’m really interested in the idea of ‘perfect’ and ‘imperfect,’ and how, as designers, we can’t have complete control over the process,”
recruited by Design Manager Iain Thorp. Then,
There are different ways to think about the role
Czumaj-Bront says. “Sometimes you can let the
in 2007, Czumaj-Bront won Design Within
of story in design, Czumaj-Bront says.
imperfections be the beauty of the piece,
Reach’s “Chicago Furniture Now” competition, and in 2008, he received a NeoCon Gold Award for N-CB Resonate storage.
rather than over-designing everything. There’s “One way is to think about your experiences, and how they impact and inspire you as you
a lot of freedom in that—part of being a designer is knowing when to step back and set something free.”
45
PLIA THE DESIGNER OF THE ICONIC FOLDING CHAIR REFLECTS ON INSPIRATION, INNOVATION AND THE TEST OF TIME.
With its lighter-than-air design, revolutionary materials and innovative functionality, the Plia folding chair earned itself a place in the MoMA’s permanent collection. Now, more than 40 years after its creation, the world still loves Plia—and so does the chair’s designer, as we learned through a recent interview with Giancarlo Piretti.
47
p l i a
HC: What inspires your designs?
HC: How do you feel about the many chair designs that have been inspired by Plia?
GP: The simplicity, the aesthetic impact, the surprise … I don’t know exactly when my ideas
GP: I’m pleased about the chair designs
tend to arrive. Sometimes it’s just an intuition—
inspired by Plia. Also, I understand that the task
when I walk, at the cinema, when reading, at
of designing a new folding chair, including my
a golf course. Perhaps when I visit a museum,
attempts, must take into account the existence
I AM GLAD THAT, AFTER SO MUCH TIME, PLIA CONTINUES TO BE CELEBRATED, AND THAT “MY OLD BABY” CONTINUES TO GIVE ME SATISFACTION.
because beautiful objects or pieces of art
of Plia. Even if there have been new and elegant
generate other good objects.
solutions since Plia, I believe that after Plia it’s
—GIANCARLO PIRETTI
a little more complicated designing a folding HC: Do you remember when you first
chair without recalling the influence of Plia.
envisioned the Plia chair?
Each designer manages this “influence stress” in different ways: some try to follow design
GP: Yes, I do remember that I had the “vision” of
solutions the most possible far from the existing
a folding chair, simple, essential, without traverse
ones; others prefer to re-edit the archetypes
beams, without sliding loops … in other words,
more clearly, such as, for example, the Plana
impossible to design! What ended up being the
chair by Alessi.
design of Plia was rather close to the impossible, but still far from the image of the chair I had in
HC: Was the design of Plia a turning point in
my mind. It was more clean than the final design,
your career? How did designing Plia impact
due to several compromises I had to face with
your subsequent designs?
the materials, manufacturing processes, etc. GP: I was very young when I designed Plia, HC: What made Plia revolutionary when it was
and those years represent the most happy and
first designed in 1967?
fertile period of the Italian design. Being a chair designed for emergency situations, Plia is meant
GP: First of all its transparency, which made Plia
to be used for short periods of time; in fact I
look almost “non-existent.” At the time when
favored the aesthetic aspect of the object over
it was introduced, transparent plastic materials
the user’s comfort. Throughout my career since
with certain strength features did not exist. The
then, I have tried to design easy objects, putting
“Cellidor” material, created on purpose for the
the chair comfort first through flexible backrests
chair, was a revolution, as was the peculiar alloy
or tilting mechanisms, but I’ve not always been
for the legs joints. What was and still is surprising
able to equal the simplicity of Plia.
about the chair is its lightness and visual fragility, while its construction makes it a product strong
HC: Designers and artists often grow tired of
enough for its function.
their older work. How do you feel about Plia when you see it today?
HC: What three words do you think best describe Plia’s design?
GP: I believe that Plia is difficult to be dated and catalogued as a product of a fleeting fashion, of
GP: Surprising—from slim transparency to
a passing trend or linked to a temporary cultural
unfolded duty, light and minimal. Enjoyable—
instance. Along with its remarkable sales success,
typically used as an “emergency” chair to
the recognition that a product lasts for decades
accommodate guests and friends when they
is the best tribute that a designer could receive,
come to your office or home. Versatile—folding,
and I am glad that, after so much time, Plia
stacking and nesting, making it easy to use
continues to be celebrated, and that “my old
and store.
baby” continues to give me satisfaction.
HC: What design traits have made Plia a timeless classic? Giancarlo Piretti’s designs have been influential in
48
GP: I believe mainly its essential and gentle
framing the way the world thinks about “Italian design.”
shape. Graphically, Plia is pleasing in all its
Born in Bologna in 1940, Piretti studied at the Instituto
three positions: folded, unfolded and half-
Statale d’ Arte before working as an interior designer for
way folded. Plia’s architectural simplicity and
Anonima Castelli. During his 12 years with Castelli, Piretti
formal essentiality meet, creating an object that
developed many breakthrough seating designs, including
nowadays it’s in fashion to define as “iconic.”
Plia, in 1967.
Chairs from the Plia Nuova Accademia di Belle Arti, Milano (NABA) Futurarium project, a competition where students were invited to redesign the Plia chair.
49
t h e
HEART o f
g r e a t
d e s i g n
(in any form it takes)
Michael O’Neal is a San Francisco photographer and art director, who polished his craft while working at Apple. Chicago-based Rick Valicenti has earned the graphic design industry’s highest honors for his work at his firm, Thirst. Pamella Roland is a New York fashion designer with West Michigan roots, whose gowns often grace red carpets. And Mike Simonian collaborates with Maaike Evers, bringing together two distinct cultures and perspectives, to create a diverse body of product designs full of heart and soul. So what do these four have in common? In some sense, not much, other than vocational identities tied to design. But in other ways, the lines that run between their disciplines aren’t as clear as people often think. All four approach their work in similar ways, find inspiration in other art and design disciplines and look to the future with the same sense of openness and hope. We’re excited to share their perspectives and work with you here. May you be inspired by them, as we have been.
Photo by Michael O’Neal 51
MICHAEL O’NEAL Michael O’Neal studied graphic design at
direction and photography for a range
the Fashion Institute of Technology, but in
of clients. “ I’m a people guy. I love to disarm
many ways his true classroom was New York
the subject and get the shot between the
City, which offered more sights, sounds,
shots,” says O’Neal. “I’m going for something
interactions and people-watching than he
warm, approachable and human. Storytelling
could possibly absorb.
is something I want to focus on. I’m after substance and narrative, not just
“I love to go on hikes and adventures, catching
pretty pictures.”
the sunrise, exploring the unexpected parts of a city,” O’Neal says. “That sense of adventure
While everyday people and their stories inspire
and discovery inspires me.”
O’Neal, he also looks to the art and design of
WHO • Independent photographer and art director • WHAT • Clean, colorful lifestyle photography and portraiture •
WHERE • San Francisco • WHAT ELSE •
An Instagram legend, with over 500,000 followers (@moneal) • WEB • mone.al
others for ideas and direction. In 2003, O’Neal moved to California for what he calls “probably the best job in the world, in
new techniques—to do something that looks
around the world, and was spending so much
different, that breaks through the clutter. I’m
time with great photographers,” O’Neal says.
constantly trying to innovate in a way that can
“ I loved the lifestyle, and got excited about the
be timeless, clean, pure and simple, yet new
idea of trying photography myself.”
and fresh. Steve Jobs was a master of that.”
He began developing his own photographic style and then, about a year and a half ago, worked up the courage to leave his job at Apple and go out on his own. Today, he blends art 52
“It’s important to keep pushing myself and trying
Apple’s in-house design group. “I was traveling
PAMELLA DEVOS The designs of Pamella Roland are clearly
The paintings of Elsworth Kelly inspired her
all about glamour, luxury and elegance, but
spring collection, with its bold statements in
founder and designer Pamella DeVos says the
graphic black and white, and Philip Johnson’s
collections are designed for real women, of all
architecture—particularly the landmark Glass
body types.
House in Connecticut—inspired Pamella Roland’s Resort 2014 collection.
This idea that women can be strong and successful while also being feminine and glamorous is one of the passions that led DeVos
WHO • President and designer of
“The fabrics I’ll be using for the collection will be cut into sleek silhouettes, with embellishments
to launch Pamella Roland in 2002. Just a year
that resemble the sparkle and modernism of
later, she earned the prestigious Gold
glass and steel.”
Coast Award.
Pamella Roland • WHAT • High-end clothes
While fashion often leads the way in terms of
that allow women to comfortably exude
In the decade since then, DeVos’ many passions
their strength and beauty, while projecting
have continued to serve her well in the fashion
says she doesn’t think in terms of what the next
innate elegance • WHERE • New York City
industry. “I really love travel and art—they
trend will be.
• WHAT
ELSE • Serves on many boards in
inspire me,” DeVos says. “My St. Petersburg Fall
art and design, including the Whitney
2013 collection was inspired by a trip to Russia,
Museum of American Art and the Grand
and all the rich, intricate art and architecture we
Rapids Art Museum, in her hometown
saw there.”
• WEB •
pamellaroland.com
color and trends in other areas of design, DeVos
“We’re high-end design, so we don’t look for trends,” DeVos says. “I study fashion, wear it, read about it, and look at it everywhere I go—I do a lot of research, but in the end I just go with what I love.”
53
RICK VALICENTI “The world needs designers desperately.” Rick
design being a virtual hug or handshake, with a
Valicenti’s passion for his vocation is impossible
message being carried and conveyed in a way
to miss, and it probably has a lot to do with the
that engages the audience.”
success of Thirst, the communication design firm he founded and leads.
Valicenti is driven and inspired by change and
Thirst is all about “making a difference in the
next generation of designers he mentors.
whatever’s next—from new technologies to the world” by leveraging those skills Valicenti says the world needs: “… the ability to connect
“There are such fabulous technologies out there,
disparate dots, to put something together that
and so much big data coming at us that needs
others can’t.”
interpretation. We can’t help but be innovative,”
design firm • WHAT • Graphic communication
Valicenti’s background is in fine art—painting,
getting raised higher and faster. You can either
design with intelligence, fashion, and real
drawing and photography. He became “a
check out or say, ‘This is so fun, to see design so
human presence • WHERE • Chicago
typeface geek” upon taking a letterpress class
alive with open-source thinking and creativity.”
at the Iowa Writers’ Workshop; the newfound
Valicenti clearly falls in the latter camp. But even
Design Award: Communication Design by
love eventually led him into the field of
as he embraces the many changing aspects of
The Cooper-Hewitt, National Design Museum
communication design.
the field, he also holds firm to the constants.
WHO • Founder of Thirst, a communication
•
WHAT ELSE • Was awarded the 2011 National
• WEB •
Valicenti says. “The bar (in design) keeps
3st.com “Typography is the carrier of messages,” Valicenti says. “Real human presence is about
54
“No matter what kind of design you do, it’s not about the software or platform you’re on,
making the work feel like it’s part of the
it’s about being fully engaged in the act of
conversation, not just a thing. I’m interested in
considered decision making.”
MIKE SIMONIAN The portfolio of Mike & Maaike is vast and
In the midst of so much variety, every project
varied, but Mike Simonian, co-founder of
begins essentially the same way: with a
the industrial design studio, says there is a
conceptual foundation. It could be a question
consistent theme from one design to the next:
to explore, a point of view or a hypothesis.
new opportunities. In the case of Windowseat, the new Haworth “We try to create new opportunities through design for everyone involved,” Simonian
WHO • Co-founder of Mike & Maaike,
Collection seating concept introduced at NeoCon 2013, the question Mike & Maaike
says. “Design is about possibilities. For the
started with was, “ Where does architecture end
user, it’s a new experience, feeling, ability
and furniture begin?”
or point of view. For the producer, there are
a progressive industrial design studio
new opportunities to connect with people, to
Erasing lines between various forms of art and
• WHAT •
express an idea, to evolve a category. For us,
design is an intentional, philosophical approach
designing products, technology, furniture,
it’s new territory, inspirations, connections,
that informs Simonian and Evers as they create
environments, packaging and transportation
relationships and knowledge.”
new products.
A laboratory approach to
• WHERE • San
Francisco • WHAT ELSE •
Recently collaborated with Google, Belkin,
Their work is always fresh, driven by the diverse
Xbox, Incase, Dupont and the City of
range of clients, industries, materials and
“All facets of design need to be connected, like art, fashion, graphic, auto and furniture,”
San Francisco • WEB • mikeandmaaike.com
approaches they work with. “We love diversity,”
Simonian says. “And all of these areas should be
he says. “We try to do projects in as many
connected with technology, politics, philosophy
different areas as we can—disparate projects
and writing, too. Design needs this rich soup to
influence and inspire each other.”
have meaning and relevance.”
55
PENELOPE, Haworth Collection 56
For many decades, designers around the world have been inspired by the work and vision of Charles Pollock. We at Haworth have long admired his work, so we were thrilled when Pollock became a member of the Haworth Collection family of designers and deeply saddened to receive news of his August 2013 death. Groundbreaking design and innovative materials made Pollock’s Penelope chair, which is still in production as part of the Haworth Collection, an instant classic. Penelope perfectly embodies the timeless elegance, innovation and emotional pull that’s at the heart of the Collection and the world’s most inspiring designs. Born in Philadelphia in 1930, Pollock studied at Cass Technical College in Detroit before winning a stipend to attend Pratt Institute of Design, which helped him secure a place working with George Nelson after college. Pratt Institute’s 1991 tribute honored Pollock with its Excellence by Design Award. 57
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h a w o r t h c o l l e c t i o n
.
c o m