OBJEKT©International D4 by OBJEKT©International

d4 INTERNATIONAL

I ZA BE L FO N K

OBJEKT© iNTERNATIONAL Living in Style no. D4 Published by Hans Fonk Publications bv. Distripress member - issn 1574-8812 Copyright ©Hans Fonk Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk Corporate head office: Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 info@objekt-international.com www.objekt-international.com Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc. 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid.com Head Office Berlin, Germany Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany Contributing writers: Izabel Fonk, Nicole Henriquez, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Dirk Wilms, Rene Wilms, Mercedez Zampoli. Contributing photographers: Mattia Balsamini, Nicolo Bressan, Roger Davies, Rebecca Fanuele, Tian Fangfang, Gianni Franchellucci, Claude Gassian, Laurian Ghinitoiu, Alaia Fonk, Hans Fonk, Roland Halbe, Alec Kugler, Matthew Millman, Helmut Newton, Auguste Perret, Luciano Romano, Alex Shoots Buildings, Schranimage, Peter Tahl, Alessandro Wang, Zhang Qinquan, Jacky Zhang,. Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Lieuwma-Puijk

photo: Alaïa Fonk

From Alessandro Mendini to the Rolling Stones and from the forces of nature to the Prada Rubber Pencil Devil, they all have a common denominator: the intensity of the power of creation. Mendini was for decades one of the great Italian design inspirators with a vision of working with like-minded people. He was an artist who created exciting objects, striking buildings and ground breaking manifestations. His works were colorful and intelligent. OBJEKT©International photographed his Abitare l’Utopia exhibition, which Alessandro Mendini curated for the 25th Abitare ilTempo in the Italian city of Verona in 2010. It is proof of his timeless vision. There he juxtaposed objects with other objects, in order to provoke emotional, memory-based associations. Mendini’s hypothesis was that whatever is in danger of getting lost in our digital world, will make way for a new outlook on the future. Combining the arts and crafts of the past with great creations for the future has always been the driving force of OBJEKT International. The fourth edition of the completely new digital platform is no exception.

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INTERIOR DESIGN ARCHITECTURE ARTS, ANTIQUES GARDENS, YACHTS

Honorary ambassadors OBJEKT International OBJEKT USA-CANADA George Beylerian Eric Booth Martyn Lawrence Bullard Tony Chi Massimo Iosa Ghini Jacopo Etro Marva Griffin Wilshire Ralf Ohletz von Plettenburg Glenn Pushelberg George Yabu Rene Wilms INTERNATIONAL DIGITAL PUBLICATION BY HANS FONK PUBLICATIONS COVER : WAITING BY THE SICIS ART MOSAIC FACTORY

WHATâ&#x20AC;&#x2122;S UP FOREWORD

YUCATAN DELIGHTS

FEADSHIP PROJECT # 708

ANIMAL FORCES

NATURE AS ORNAMENT

LES PIPES DES ANDES THE PRIDE OF DOMINICAN WOMEN

LAHOFER WINERY

JINGDEZHEN IMPERIAL KILN MUSEUM

ALLEGRO NON TROPPO

OKAERI TOKYO BY ROCKWELL GROUP

SHIFTING ROCKS

FROM SENEGAL TO LAKE GENEVA LADY OF THE CANYON

DAVID SCOTT IN NYC PRADA SHANGHAI

ROLLING STONES # UNZIPPED DAILY PAPER

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FASCINATING NAPOLI

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HYMN FOR MENDINI

PHOTO: HANS FONK

UNIQUE EXPERIENCES Selected Retreats for Family & Friends

WWW.UNIQUE-EXPERIENCES.CH

Yucatan Delights Casa Clavel: a store and studio designed like a home. It is a creation by Carmen Arechiga, the owner and designer. Casa Clavel is located in Barrio Santiago, the historical part of the city of Merida, Yacatan, Mexico. She transformed part of a warehouse of a former factory where ‘Guayaberas’ were made by hand into here own space where she features artisanal LatinoAmerican decoration and home accessories. The Guayabera makers are now their neighbors and they still make these typical, traditional shirts the classic way.

Carmen Arechiga: “The idea of Casa Clavel was creating a space where creativity and design could be expressed with textures and colors, a place to share ideas with clients and to promote Mexican designers with a link to international art and design. I redesigned the mezzanine to discuss the ideas of my clients and to work on residential and hospitality projects.” She loves contrasts and colors, eclecticism and the mix of retro and contemporary furniture. She also produces custom made furniture and is representing brands like Knoll, paola Lenti, Flos, Vitra, Ligne Roset etc.

ASIAN WOOD ELEVEN photo artworks by

Hans Fonk

sales info: izabel@objekt-international.com

Feadship Project # 708 10 OBJEKT

The Feadship yard in Aalsmeer, the Netherlands, has commenced the outfitting of the 55-metre Project 708 after its delivery from the Feadship hull-building facility in the city of Papendrecht. Designed by Philippe Briand and Vitruvius Yachts Ltd, the expedition-style yacht will be fully self-sufficient and exceptionally fuel-efficient. As the planned adventures include taking on the North-West and North-East Passages, Project 708 has a steel hull built to ice class and includes an advanced sonar system to explore the ocean floor. Rather than fitting traditional stabiliser fins, which run the risk of being damaged by underwater ice, Feadship will install the largest gyroscope system built to date. In addition to this twenty-tonne unit, Project 708 will carry lots of heavy toys. Primary among these is a 6.3-tonne submarine that will be housed on the long flat aft deck along with a massive crane. The latter will be capable of lifting 7000 kg when the sub is manned and have an outreach of almost eight metres. As well as launching the sub, the crane will also be required for a limousine tender and to lift the ownerâ&#x20AC;&#x2122;s car from aft deck to shore. Project 708â&#x20AC;&#x2122;s interior has been designed by Danielle Boutsen of Boutsen Design. Above: the yacht in the Rotterdam harbor. Photo: Feadship. OBJEKT

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The French Economic, Social and Environmental Council invited Giuseppe Penone to exhibit his work in the great hypostyle hall of the Palais d’Iéna, in Paris. For his first exhibition in Paris since 2013, organized in collaboration with Marian Goodman Gallery, the artist presented his monumental work Matrice di Linfa accompanied by two new sculptures created especially for the exhibition. In the making of Matrice di Linfa Penone intervened in the history of a fir tree by removing eighty rings of its growth. This work is emblematic of the Cese’s commitment to the environment and celebrates the 80th anniversary of Auguste Perret's architectural masterpiece. The artwork was inaugurated during Fiac 2019, the Foire Internationale d’Art Contemporain. Giuseppe Penone considers Matrice di Linfa as a shape with an animal force. It also evokes an open book, a ‘long sacrificial altar’ or ’a long and thin boat sailing back and forth in the space, pushed bythe strength of its branches’. The sculpture of two parts, each 20 meters long, made from a fir tree found in the Vallée des Merveilles in the French Alps, resulted from a multiplicity of gestures, typical of Penone’s practice. After having cut the tree in half, Giuseppe Penone removed wood from the trunk, and following the growth rings, extracted part of the tree’s memory. A red vegetal resin, resembling the tree’s sap, was poured into the central cavity, in which the artist placed terracotta elements bearing imprints of his own body. The fir tree’s branches, which grew season by season, supported the trunk, resting on large carpet of leather. photo: Rebecca Fanuele © Palais d’Iéna, architecte Auguste Perret,UFSE, SAIF /Courtesy Archivio Penone et Marian Goodman Gallery, New York,Paris, London

NATURE as ORNAMENT

The second temporary exhibition presented at the Centre Pompidou x West Bund Museum Project in Shanghai was titled Design and the Wondrous. It was all about questioning current adornment and how it relates to new digital logics for designing and producing design items. The exhibition presented more than a hundred design objects, essentially from the Centre Pompidou collection.

Characterized by a strong cultural dialogue between China and France, the exhibition brought together and for the first time also placed Centre Pompidou works in resonance with those of contemporary Chinese designers.

Ranging from the representation of natural forms to the recreation of biological growth processes using digital tools, Design and the Wondrous recounted a history of design, between the vegetal and the ornamental.

Nature became important again in design in the mid 1980s, with a neo-primitivism approach in pieces made of natural, untransformed materials.

Some designers focused on nature’s power of metamorphosis inserting the design piece into a natural growth process. Here natural material is both an ornamental motif and a structure from the Chen Min bamboo Hangzhou Stool and Joseph Walsh’s olive ash Enignum XV Shelf that evolved between design, sculpture, crafts and industry, to the Fallen Tree Bench by Benjamin Graindorge. Curators of Design and the Wondrous were Marie Ange Brayer, Head of the design and industrial prospective department and Olivier Zeitoun, Assistant curator, Musée national d’art moderne, Centre Pompidou, Paris.

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photos: Roland Halbe

LES P AN

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PIPES DES NDES

Valle Sagrado, Peru’s Sacred Valley of the Inca’s, lies in between Cusco and Machu Picchu. The views of the mountains and surrounded by Inca terraces are breathtaking. Here between fields of maize, Hotel explora Valle Sagrado is is conceived as a base for exploring the region’s 400year history. The neighboring colonial-style Pumacahua Bath House dates from the 17th century. After several months of work restoring and remodeling the Pumacahua Bath House, explora has been able to recover this house with more than 400 years of history. The hard work by restoration experts, with the Archaeology Institute of Peru, managed to

preserve the cultural and ancient heritage of this region, transforming this house into a museum where explora Valle Sagrado travellers can charge batteries after a day of explorations. The hotel, with more than 50 rooms, blends into the scenic environment and adjoining plantations. Encircled by Andean peaks, explora’s sustainable and integrated design is worth mentioning. It is focused on the scenery so guests can immerse themselves in the tranquility of nature. The ample use of natural materials in the rooms generates a warm ambience: light wooden beams act both as decorative elements and room partitions, emphasizing the atmosphere in combination with indirect lighting. The bathrooms in the rooms and suites feature DuraStyle built-in washbasins to complete the hotel’s sophisticated, natural, and timeless aesthetic. OBJEKT

thePride of Dominican Women

Maraca Restaurant is one of the new and hottest places in the whole of the Dominican Republic and is located in the historic part of the capital Santo Domingo. The owner Victor Atallah combined two colonial city houses to create his dream restaurant. The artwork Audacity, representing the pride of the Dominican women, takes center stage.

The work was entirely hand-made by the Sicis mosaic masters, applying the technique of artistic mosaic using tesserae from the Sicis Murano glass collections. The work was the result of the collaboration with the artist Willgom, a supporter of street art and one of the most talented illustrators of Santo Domingo and the architect Ramon Emilio Jimenez Vicens. The art deco style facade remained practically intact while only the glass blocks were replaced by new pink ones. The art deco style faรงade was the source of inspiration for the interior design and paid tribute to the tropical exuberance of a Caribbean party. All the furniture and accessories in Maraca were specially designed for these spaces. Some pieces were built, such as tables of various designs, while other interior pieces were modified to create the harmony of the colorful tropical place. For the floor of the entire restaurant, a geometric pattern was designed with three types of marble of different colors and formats. The bases and tops of the columns present repetitions of geometric designs in clear reference to the Art Deco style.

photos: Harold Lambertus

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Above: the colorful Audacity portrait takes center stage in the Maraca Restaurant in Santo Domingo. It represents the pride of the Dominican woman created with mosaics of the Sicis Shades collection. Left: the Art Deco facade of the restaurant. Right: Waiting by the Sicis Art Mosaic Factory. Right-hand page: Audacity by artist Willgom.

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LAHOFER WINERY OBJEKT

photos: Alex Shoots Buildings, Laurian Ghinitoiu

Nestled in the Moravian countryside, the design of the Lahofer Winery brings together a longstanding wine tradition and contemporary wine-making processes. Housing a visitor center, tasting room and production facilities, the structure immerses itself in the landscape, achieving a subtle symbiosis with the surrounding vines. The architects Ondrej Chybík and Michal Krištof explain: “The design of the Lahofer Winery is deeply rooted in nature and the respect for it. At a time when culture and nature appear to be antagonistic forces, we have envisioned a space reflecting the longstanding symbiosis between the two in the region; one that respects the environment on which it is built.” “The structure unfolds into the native terrain and immerses itself into the surrounding vine rows, thereby preserving the essence and integrity of both soil and culture. Moving beyond a purely productive viewpoint, we prioritized the visitor experience, by making the roof a public space open to local and international visitors: an experience essential to the understanding and appreciation of the wine.” Chybik+ Kristof Aarchitects & Urban Designers have completed construction of the Lahofer Winery in the Czech Republic in 2020. Reflective of modern wine-making processes, the building brings together three interconnected structures: a wine-making facility, the winery’s administrative base, and a visitor center and adjoining tasting room. Emulating archetypal wine cellars of the region, the vault of the winery rests on a grid of arched beams. Acting as a mirror of this shape, an undulant roof serves as an amphitheater for cultural events open to both locals and visitors, merging the winery into the ground on which it rests. The design idea found its roots in the legacy of the Lahofer Winery. This is grounded in a cultural heritage and a profound respect for the natural environment. Responding to Moravia’s topography and architectural tradition, rooted in the culture of wine, the architects conceived a design in symbiosis with the region’s landscape.

Reminiscent of the region’s characteristic arched wine cellars, a colonnade of vaulted beams frames the interior space into its storied curve. On the exterior, draping the winery, an undulant roof acts as an inclined open-air amphitheater and cultural venue. Lightening the volume of the building as it rests on the fertile soil, there are three separate spaces below, each attributed with a distinct function. The first lower hall centralizes the wine-making and employee quarters, while the second allows for operations that require lower temperatures, such as the wine press, the cellar, and the wine store. The varying heights of the interior spaces, emulating the terrain, allow for the alignment of corresponding functional exterior courtyards. While one courtyard serves as the operational area, centralizing logistic and production presses, the other holds the amphitheater, extending sweeping views of the landscape. The space under the concave roof of the amphitheater unfolds into a vast cellar, embracing the design of archetypal Czech wineries defined by the exposed rib construction of the arches. Each reinforced concrete arch is individually designed to fit a specific angle of the ceiling, while the distance between the arches is determined by the space between the vine rows. Each module rises from a vine row and runs through the space, achieving visual symmetry and guiding the viewer’s gaze across the grapevines. Enclosed in a glass façade and facing south, the visitor center draws abundant light as the windows act as concealed separation from the exterior vine rows. The visitor center invites visitors to fully experience the wine production in the barrique cellar, made of wood, concrete and glass, and adjoining tasting room. A large-scale mural painting by Czech contemporary artist Patrik Hábl covers the entire ceiling area. Its tampered, irregular and sparse strokes, ranging from earthy reds and blacks to terroir-reminiscent browns and beiges, echo the variations of the soil and its weightlessness leaving its timeless markings on the walls.

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JINGDEZHEN, CHAOYANG QU, CHINA, IS KNOWN AS THE PORCELAIN CAPITAL OF THE WORLD. THE CITY HAS BEEN PRODUCING PORCELAIN FOR OVER 1,700 YEARS. DURING THE MING AND QING DYNASTIES, JINGDEZHEN EXPORTED HUGE AMOUNTS OF PORCELAIN PRODUCTS TO EUROPE. LOCATED IN THE CENTER OF THE HISTORICAL PART OF THIS CITY, STUDIO ZHU-PEI FROM BEIJING DESIGNED THE NEW IMPERIAL KILN MUSEUM ADJACENT TO THE RUINS OF THE FORMER IMPERIAL KILN SURROUNDED BY ANCIENT KILNS.

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The new Jingdezhen Imperial Kiln Museum deigned by Studio Zhu-Pei consists of half a dozen brick vaults based on the traditional form of the kiln. Each of the vaults is of a different size, curvature and length. They were integrated with many existing ruins including a few ruins that were found after the construction. Five courtyards were created varied in size have different themes: gold, wood, water, fire and earth. Those five themes not only reflect old Chinese thinking about the earth but also associate with porcelain making techniques.

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Jingdezhen Imperial Kiln Museum Architecture, Interior and Landscape Design: Studio Zhu-Pei Cooperative Design: Architectural Design and Research Institute of Tsinghua University Design in Charge: Zhu Pei Art Consultant:Wang Mingxian, Li Xiangning Design Team:You Changchen, Han Mo, He Fan, Shuhei Nakamura, Liu Ling, Wu Zhigang, Zhang Shun, Du Yang, Yang Shengchen, Chen Yida, He Chenglong, Ding Xinyue Consultants: Structural, MEP and Green Building: Architectural Design and Research Institute of Tsinghua University Facade: Shenzhen Dadi Facade Technology CO., LTD. Lighting: Ning Field Lighting Design CO., LTD. Acoustic: Building Science & Technology Institute, Zhejiang University Photos:Tian Fangfang, Zhang Qinquan, courtesy of Studio Zhu-Pei. 32 OBJEKT

The city of Jingdezhen is situated in a river valley surrounded by hills, and mountains. Due to the location it became a natural place for the production of porcelain. The early inhabitants of the city developed around kiln complexes, which included kilns, workshops and houses. The street pattern followed nature and the way the porcelain industry developed. Most of the small alleys in between the kiln complexes had access to the Chang River for the transport of raw materials and finished porcelain products. The main streets of the place became melting pots of business and pleasure. Built on a fairly restricted historical area ay the east side of the ruins of the former Imperial Kiln, the new Imperial Kiln Museum comprises of more than half a dozen brick vaults based on the traditional form of the kiln. Each of the vaults is of a different size, curvature and length. They were integrated with many existing ruins including a few ruins that were found after the construction. The new five sunken courtyards varied in size have different themes: gold, wood, water, fire and earth. Those five themes not only reflect old Chinese thinking about the earth but also associate with porcelain making techniques. Studio Zhu-Pei was fascinated by local ancient kiln tectonic and material. Looking in the past, craftsmen built the brick kiln without scaffolding in a very special way. Thin and light brick kiln achieved a maximum interior space with a minimum of material. The kilns had organic forms reflecting heat flow from one end to another.For the construction of the museum recycled old kiln bricks were used and mixed with new bricks to reflect the local culture of construction. Using recycled kiln bricks to build houses and all kinds of buildings is a significant character in Jingdezhen. Brick kilns had to be demolished every two or three years in order to keep the thermal performance of the kilns. Recycled kiln bricks could be found in the entire city. In the past, the children would take a warm brick from the firing kilns to place in their schoolbags to keep themselves warm the whole day during freezing winter. The interiorâ&#x20AC;&#x2122;s natural light is achieved by sunken courtyards and skylights inspired by smoke holes of the ancient brick kiln.

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Masseria Petrarolo in Puglia, the South of Italy has a long history: from an ancient farmhouse, fortified against Saracen invaders to the family home recently created by Alexander Waterworth, London . He transformed the old structure into a magnificent villa whilst maintaining the heritage of the building. Walking through each room now evokes a rustic purity to refresh the mind with exposed brick walls, floors and gracefully large, vaulted ceilings, maintaining many of the original features of the farmhouse. The farm is located amidst 30 hectares of picturesque farmland in the heart of Puglia. Here Alexander Waterworth and his studio restored and redesigned Masseria Petrarolo. With 8-bedrooms to restore, he gave each bedroom its own identity with naturally sourced pastel colors, providing a light, yet romantically dignified feel to compliment the magnificent views. The interior of the home consist of three kitchens, a dining area, a wine room, a pool house and a sitting room. The team of Waterworth travelled the length of Italy and through Europe, to source antiques and unique pieces of furniture. Acquiring antiques took around 6 to 8 months, the team made many early trips to markets & antique dealers. One of their favorite spots was Lille road in Fulham, England. 38 OBJEKT

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The designer: “We love to create timeless, contemporary, intriguingly inviting projects. The Puglia project was extra special as it had not been touched for many years. We worked with the client to understand how the building would be used as a home. There was a strong desire to bring sophistication and comfort to the project.” “Working with the historic building, we retained many of the existing wall arrangements, staircases and finishes in the building as possible to ensure a natural evolution of the property. We exposed and regenerated the

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natural finishes of the project and the building has a richness of history throughout. Maintaining the history of the building was a key factor to the design authenticity.â&#x20AC;? â&#x20AC;&#x153;We are proud to have rejuvenated Masseria into a home: giving life to this property for many years to come. One of our favourite parts of the project is the rejuvenation of the orange orchard, located outside the living room. A place of beauty that can be appreciate internally and externally. A true place of serenity.â&#x20AC;?

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Puglia is located in the southern peninsular section of Italy, bordering the Adriatic Sea to the east, the Ionian Sea to the southeast, and the Strait of Otranto and Gulf of Taranto to the south. Puglia is the main producer of olives in Italy. In the southernmost part of Apulia, in the Salento region, a lot of wine is grown, including the famous Negroamaro and Primitivo. In recent years, many old masseria have been transformed into characteristic holiday houses.

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New York based interdisciplinary design studio Rockwell Group has created the interiors of the new 160-guestroom Kimpton Tokyo, in the Shinjuku area of the city. For the design of the hotel’s guestrooms, dining and amenities spaces, Rockwell Group has merged eclectic styles and patterns with materials that echo the trendy location of the hotel. Layers of fabric, art, and furniture explore Tokyo’s past and future. At the first-floor cafe, a neon ‘oh TOKYO’ sign recalls the glowing lights of the Shinjuku district. It has an eclectic mix of lounge chairs and cafe tables and oversized sofas or people to work. The more contemporary brasserie on the second floor is a multi-level space with show kitchen where chefs prepare meals celebrating local ingredients and culinary traditions.

The guestrooms’ design was inspired by the Japanese concept of ‘Okaeri’, which means welcome home. A natural and neutral palette with playful surprises must make guest feel at home. The metal floral inlay on the Japanese charred wood headboard repre sents a modern twist on Japan's tradition of Ikebana flower arrangements. Striped sofas are inspired by the orderly chaos of Tokyo's pedestrian crossings.

Kimpton Tokyo features a Chapel on the 16th floor. On the 17th floor, the rooftop ballroom and bar have industrial blackened steel structural elements that frame the space and support a pyramid skylight, while dark glazed bricks are reminiscent of a NYC loft space.

otos: Yoshihiro Makino

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These pages: the La Quinta project designed by Marmol+Radziner in Palm Springs, California. The landscape around the house was designed by Madderlake Design. They sources the immens boulders ad rock to create a magical, Kyoto insipred garden. photos: Roger Davies.

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â&#x20AC;&#x153;The project began with a written proposal in the form of an essay in which we described a favorite Japanese temple garden in Kyoto: its magical and slow progression from the gate to the inner sanctum, the significant moments encountered along the way and how the path stops, turns, and frames moments along the journey until the path to the front door is finally revealed and then reached. The feeling and effect of the walking path we knew. But how to create this with local materials? Time and research would guide us.â&#x20AC;? Madderlake Design, creators of landscapes and architecture, about the La Quinta project located in Palm Springs, California. They were asked to create a dramatic landscape for the starkly modern house, designed by the Los Angeles firm, Marmol+Radziner. It is a 6,500-square-foot one-story vacation home, overlooking a golf course with the San Jacinto mountain range beyond. Since 1994, Aspen has been the primary base of operations for Madderlakeâ&#x20AC;&#x2122;s architectural and landscape projects in the West. Over the years, they have cultivated sources for extraordinary boulders, ledge rocks and characterful native trees and have completed large-scale projects in Colorado, Montana, California and in Washington State.

Above: the integration of interiors with the boulders harvested and placed by Maddelale Design at the La Quinta project in Palm Springs. Right: the process of bringing the boulders to the site and placing them in a courtyards.

Madderlake about the genesis history: “After looking at the iconic houses in the Palm Spring area, including the Kaufman House, we were underwhelmed at the use of rocks and boulders at most of them. We sourced the countryside west of the Coachella Valley for inspiration and found spectacular rock formations that had poetry and a real sense of history. They looked like Noguchi sculptures, such as the ones at his garden studio in Takamatsu, Japan. They were perfect for the La Quinta project to create the contemplative garden we had promised the owners.” “Then we looked into the practical side. Our contractors were no help, and shrugged their shoulders and rolled their eyes but we were undaunted and eventually found a rancher willing to let us “harvest” boulder groups from his property. By sheer luck the ranch was nearby an excavation company with big equipment.” The entry garden, the four interior courtyards and the surrounding landscape feature now a number of boulder groupings all carefully mapped, extracted, transported and reassembled in exactly the same arrangement that Madderlake found them in the wild. The immense size and sometimes muscular quality of the boulders makes them feel native to the site and pre-existing. It seems as if the house was built to accommodate and feature the beauty of the natural site.

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These pages: in addition to the boulders full of character, Madderlake sourced large trees and plants to inhabit the garden and courtyards. The front garden walkway traverses a grove of old olive trees. The space between the house and guest house is dominated by a massive ancient olive tree, the largest onsite. They were carefully matched with the boulders. When they arrived ay the site, the designers were presented with a daunting jigsaw puzzle to put them all back together again.

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from SeneGAL To LAke GenevA

The family home and ofďŹ ce were built for a successful Senegalese businessman based in Switzerland on the banks of Lake Geneva. The form was inspired by the owners heritage representing an emerging African inspired aesthetic in its sculptural form, materials and textures. It was designed by Saota architects with interiors by Arrcc, both from South Africa.

production: OBJEKT International Left: the house Saota architects designed on the shores of Lake Geneva, Switzerland. Right: view over the lake.

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The triangular shape of the lakeside location, in addition to strict planning parameters and prohibitions of the region, imposed considerable restrictions on the design. The architects came up with a plan of architectural forms inspired by the triangular footprint of the site. They created a ‘reductive’ sculptural design of round edged cubes and triangular masses. for Arrcc Director mark rielly, the bold approach to form directly influenced his approach to the interiors. Working closely with the homeowners, he sourced from a wide range of South African and international décor and furniture brands. rielly: “The contemporary architectural space defined the design direction, resulting in a modern approach with brands of diverse origin chosen for the house.” for the interiors he choose for walnut joinery, marble and travertine floors and light granite wall cladding with stainless steel detail insets. for the exterior the choice fell on dark zinc cladding to cover the sculptural forms with textured granite used on feature wall and the floors. A double-volume living area, with a curved glass wall façade facing the lake, flows into the dining area and kitchen on the ground floor while the bedrooms and en-suites are located on the top level. furniture with organic and rounded shapes were selected to accommodate the irregular shape of the main living spaces, with the living room divided into two zones, a formal and informal area that are centered around the fireplace, a suspended black flue and fire dish secured to the floor.

Above: the double volume living space with the dining area and kitchen in the back ground. Comfort in The open-plan layout was achieved by using modular a B&B Italia sofa, custom armchairs by South African studio Okha. The artwork is by Parisian artist Françoise Nielly.

Comfort in the open-plan layout was achieved by using modular furniture pieces, such as the B&B Italia sofa, that can be easily reconfigured to create continuity between thetwo living areas. Custom GT armchairs by South African studio okha and a leather pouffe by Dominique Perrault and Gaëlle Lauriot-Prévost added to the luxury layering and bridging the gap between formal and informal spaces. The blurring of African and european provenances continued with the mix of organic-shaped patchwork nguni rugs, African-inspired ceramics by Louise Gelderblom, a colorful portrait from Parisian

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artist franรงoise nielly and a horse lamp from moooi. An large wall of randomly patterned Chandore stone with recessed strips of stainless steel became an architectural feature in itself. The dining room featured a glass okha table, which complemented the glass and timber screen wall panel behind. Wooden slats on the glass screen matched the timber paneling of the bar area, with polished steel okha barstools complimenting the dining selections. A Carolina Sardi art installation consisting of suspended yellow discs created a focal point on the wall of the bar.

Above: the bedrooms and bathrooms on the upper level of the Lake house. Below: the kitchen and he dining room with a glass Okha table and polished steel Okha barstool. The wooden slats on the glass screen matched the timber paneling of the bar area. The art installation, consisting of suspended yellow discs, is by Carolina Sardi.

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Top left and bottom: overview of the living area with custom armchairs by South African studio Okha and a leather pouffe by Dominique Perrault and GaĂŤlle Lauriot-PrĂŠvost. The horse is by Moooi. The organic-shaped patchwork Nguni rugs, ceramics by Louise Gelderblom are all African-inspired. Center: the Lake House lounge. Above: the spiral staircase as well as a glass-cylinder encased elevator connecting the ground and upper floors with the bedrooms.

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The upper level with the bedrooms can be accessed by a spiral staircase as well as a glass-cylinder encased elevator. A yellow-colored Caesarstone slab for the floor, vanity and mirror wall formed a striking finish in the childrenâ&#x20AC;&#x2122;s bathroom. The bath alcove walls were clad in sheets of brushed stainless steel, contrasting with the polished chrome finishes of the heated towel rails and bathroom chrome ware. Through this symbiosis of iconic european design and an emerging African aesthetic, the interior now reflects the spirit of the global family that lives within the spaces, while achieving a nuanced layering of tones, textures and materials.

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Unlike many iconic Los Angeles homes that are designed to enjoy panoramic city views, the Laurel Hills Residence is in the foothills of the famous Laurel Canyon. The house offers a secluded and inwardly focused experience against the backdrop of lush, majestic trees. It was designed by Assembledge+ from LA. Laurel Canyon became famous in the mid-late 1960s and early 1970s as home to many of L.A.'s rock musicians, such as Frank Zappa, Jim Morrison of The Doors, Carole King, The Byrds, Buffalo Springfield, Canned Heat, John Mayall, members of The Eagles, Neil Young and Brian Wilson of The Beach Boys amongst others. It was party time all over. Those were the days and many things have changed including the Laurel Canyon. It became an exclusive residential area. 64 OBJEKT

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Previous page: the 40-foot-long pool and a series of outdoor rooms at the Laurel Hills Residence.The minimalist palette of charcoal colored panels and Western Red Cedar serves as a neutral canvas, complementing the landscape featuring California native species. These pages Top left: the kitchen, designed for uninterrupted entertainment. Below: the walkway of concrete pavers, lined by wild grasses leading to the front door. Right-hand page: following in the tradition of Southern California modernist design,Assembledge+ created seamless connections between indoor and outdoor spaces extending daily living into nature. photos: Matthew Millman

This villa was composed of three pavilions connected by a series of glass hallways, the single-story residence seeks to create a residential oasis in the heart of Los Angeles. The Western Red Cedar lined guest house/garage pavilion establishes a datum line that carves and connects the two larger volumes of the living and sleeping pavilions, comprised of oversized charcoal-colored board, batten extira and cement board siding. Large windows, skylights, and pocketing doors infuse the home with natural light, reflecting off wooden floors and marble countertops. A deep overhang mitigates solar heat gain and shields from the sun exposure. Designteam: David Thompson (principal-in-charge), Greg Marin (project manager) and Raul Aguilera (project architect). Interiors: Susan Mitnick Design. Landscape: Fiore Landscape Design.

A walkway of concrete pavers, lined by wild grasses leads to the front door, passing a courtyard with olive trees. The entry to the house is located within a glass hallway connecting the living pavilion to the west and the sleeping pavilion to the east, creating an intimate scale on entering the other parts of the house. The fluidity between the kitchen, breakfast room and family room, creates a harmony of transparency and lightness. A glass hallway connecting the guest pavilion to the living area makes metaphorical reference to the geological history, spanning bridge-like across an old creek that once ran through the property. The entire site is treated as the designers did with the interiors. The surrounding trees and hills set the parameters and the exterior walls of the house were reconceived as a series of partition walls. The grounds are interlocked with the interior spaces, creating a series of outdoor rooms. A minimalist palette of charcoal colored panels and Western Red Cedar served as a neutral canvas, complementing the homeâ&#x20AC;&#x2122;s landscape featuring California native species. The large surface area of the living volume provides an enough surface for over fifty solar panels that allow the residence to be sustainable and remove itself from the city power grid.

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A glass hallway connecting the guest pavilion to the living area makes reference to geological history, spanning bridge-like across an old creek that once ran through the property.

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NEUTRALCOLORS PUNCTUATED WITHGOLD

DESIGNED IN 1915 BY ARCHITECT WILLIAM VAN ALEN, WHO ALSO CREATED THE CHRYSLER BUILDING, 10 MADISON SQUARE WEST IS WHERE UPTOWN MEETS DOWNTOWN MANHATTAN. THE BUILDING WITH ITS ICONIC ARCHITECTURE AND CLASS BRICK AND LIMESTONE FAÃ&#x2021;ADE, HAVE ORIGINALLY BEEN NAMED TOY BUILDING NORTH AS IT WAS A TOYS FACTORY. LOCATED ON THE 15TH FLOOR, IS A PIED-A-TERRE DESIGNED BY DAVID SCOTT INTERIORS. 70 OBJEKT

production: OBJEKT USA-CANADA photos: Gianni Franchellucci Left: interior designer David Scott. Right-hand page: part of the combined living and dining room. The custom 5-Globe Branching Bubble Chandelier and a slab dining table from BDDW. The 851 Dining Chairs are from A Rudin upholstered in mohair fabric from Holly Hunt.

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Above: the kitchen overlooking a big part of Manhattan and a part of the master bedroom with a floor lamp from Aerin, a club chair from Studio Van Den Akker, reupholstered in Alpaca/ Wool fabric from Holly Hunt and a custom Thompson dresser by Desiron. Below: the sonâ&#x20AC;&#x2122;s bedroom with wall-to-wall carpet by Edward Fields and Philip Jeffries Wall covering from Holly Hunt. The bed is from William Sonoma and the nightstands are by Regeneration.The sofa is by Room & Board. The accessories are by Calvin Klein, Gracious Home, Aero and CB2. Right-hand page: the master bedroom with wall to wall carpet by Warp & Weft, Chandelier from Arteriors and a custom upholstered bed from NY Upholstery with a Kravet fabric. The nightstand is by Ruby Beets, the table lamp is by John Salibello and the pillows are from Barneys and Fortuny. Beside that: the daughterâ&#x20AC;&#x2122;s bedroom with a Moooi lamp, a custom upholstered Bed from NY Upholstery and fabrics from Jerry Pai. The T. H. Robsjohn Gibbings nightstands are by Soho Treasures and the table by Arteriors.

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For the space, David and his team focused on the neutral colors punctuated with golds, chartreuse greens, and blues. Each design decision was meticulously made in order to compose a symphony where each choice builds on one another to create a soulful harmony. For materials, they aimed at linen, wool, cotton, and mohair from Holly Hunt, Loro Piana, Romo, and Kravet. In terms of furniture, the apartment was equipped with all new furnishings and a few bespoke pieces such as the embossed leather shagreen top with brass inlay living room cocktail table, the custom bookcase and the custom wool and silk rug in the living room. Artwork includes Vicky Barranguet, Santiago Castillo, Wei Ligang and Pierre Malbec. Special attention was paid to the light design to create a balance of vintage lighting fixtures, from Italian ‘60s and Serge Mouille, to contemporary style such as the fixtures by Lindsey Adelman and Moooi. David Scott: “The lighting throughout the apartment is an

eclectic collection of fixtures, new and vintage, that reflected the style of our clients, as well as the Flatiron neighborhood of Manhattan.” “It was important to capture and combine classic designs with the contemporary, as well as the linear with the organic, in order to achieve that special New York energy that goes hand in hand with the quintessential skyline views from the apartment. Hanging from the custom living room built-ins is a classic two armed articulating sconce by Serge Mouille, which is balanced with the custom Lindsey Adelman chandelier in the adjacent dining area.” “Floating in the Master Bedroom is an iconic sputnik chandelier, which translates down to the vintage starburst table lamps, which were made in Italy in the 1960s. In the girl’s room, I wanted to continue the eclectic feeling, but with a more youthful and f eminine flair.” The Heracleum Chandelier, by B&B Italia, branches delicately over the room, and is weighted by more substantial lamps in the room, composed of brass, marble, and hand blown glass.

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These pages: the living/dining room with a custom rug by Joseph Carini Carpets. The Wingback chair is by Marco Zanuso senior, circa 1951.The sofa is by Holly Hunt, upholstered in a fabric by Rogers & Goffigon. The art over the sofa â&#x20AC;&#x2DC;Zen Sation IIâ&#x20AC;&#x2122; is by Vicky Barranuguet. The gilt iron 2-tiered side table is by 1stDibs and the coffee table, with embossed leather shagreen top and brass inlay is from Profiles. The cube pouf ottomans are from Walker Zabriskie Furniture and the custom shelving unit is by New Day Woodwork. The dining table is from BDDW and the 851 dining chairs are by A Rudin.

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Previous pages: exhibition view of ‘Rubber Pencil Devil’ by Alex Da Corte, Prada Rong Zhai in Shanghai. Photos: Alessandro Wang, Courtesy Prada. Below: Rubber Pencil Devil aficionados: Fan Beilei-architect, Cici Xiang-model, LI Qing-artist. Jiang Fangzhou-writer, Kylie Ying-co-founder of ART 021, You Tianyimodel,Yang Fudong-artist, Zhang Linamodel, Wang Xingwei-artist,Yan Shijie-director of Red Brick Art Museum, Wallace Chan-jewelry artist & Rebecca Wei_Partner of Levy Gorvy Asia, Qiu Anxiong & Shi Yong-artists, Ling Feifeifounder of Mingyuan Art Museum & McaM, Lim Tzaychuen-artist & Cao Danpublisher of The Art Newspaper & Cao Fei-artist, Jenny wang-chairman of Shanghai Fosun Art Center and Chu Wong-model. Photos: Jacky Zhang Below: the Rong Zhai building, historical residence from 1918 in Shanghai restored by Prada and reopened in October 2017. Right-hand page: Rubber Pencil Devil was conceived by Da Corte as a ‘Gesamtkunstwerk’ on the two main floors of the Rong Zhai building.

Prada with the support of Fondazione Prada. presented Rubber Pencil Devil, a site-specific show by American artist Alex Da Corte, in the premises of Prada Rong Zhai, a 1918 historical residence in Shanghai restored by Prada and reopened in October 2017. Conceived in 2018, Rubber Pencil Devil is a video work composed by 57 chapters and a prologue. In Rong Zhai the work was presented by the artist in a site-specific exhibition featuring 51 of the 57 acts on 19 large rear-projection multi-colored video cubes displayed in the two main floors of the Rong Zhai building, giving a new spatial configuration to the artwork according to the new venue. Rubber Pencil Devil was a looping, two-hour40-minute stream o highly stylized videos inspired by a wide range of iconographical and cultural sources from vintage television imagery to 20th-century animation, from queer icons to campy Americana. Da Corte’s artwork functioned as a hypnotically slow choreography performed by popular and recognizable figures.

According to Da Corte, Rubber Pencil Devil is a ‘Gesamtkunstwerk’, an immersive experience combining video, music and architecture, rich in allusions to avant-garde visual artists, experimental writers, pop singers, show-biz personalities and cartoon characters.

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THE ROLLING STONES UNZ

Above: the Groninger Museum in the Netherlands reopened in 1994 designed by Alessandro Mendini and designers and architects of his choice: Philippe Starck, Michele de Lucchi and Coop Himmelb(l)au. The highly recognizable tongue logo was designed by John Pasche. Here, Mick Jagger opened the exhibition: The Rolling Stones#Unzipped. Right: The Rolling Stones photographed by Helmut Newton.

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Above set list London concert 15 May 2014 by Ronnie Wood. Paint on canvas. Collection Rolling Stones Archive. Middle top: part of the exhibition at the Groninger Museum with costumes worn by Mick Jagger (photo: Peter Tahl). On the left Keith Richardsâ&#x20AC;&#x2122; Silk Shirt worn on Bridges to Babylon Tour, 1997-1998 and designed by Joanie Char. Right: The Rolling Stones photographed by Claude Gassian.

None other than Mick Jagger opened the exhibition The Rolling Stones # Unzipped at the Groninger Museum in the north of the Netherlands in November 2020. The Rolling Stones # Unzipped featured more than 400 original objects from the band’s personal archive. Along with instruments and stage designs, rare audio fragments and video footage, personal diaries, iconic costumes, posters, album covers and even a reconstruction of the band’s studio and modest flat in Edith Grove in London took visitors behind the scenes. The Rolling Stones worked with artists such as Andy Warhol and Martin Scorsese to create their image. Unzipped showed Polaroid photos of Warhol that he used as the inspiration for the record sleeves of Sticky Fingers and Love You Live.

Warhol's working process became transparent through the screen prints he made on the basis of Polaroids of the band members and the pencil drawings on which he traced the contours of their faces. The cover art of the Rolling Stones was often meant to shock: from the underpants that become visible when you open the zipper on the Sticky Fingers cover to the bare photo of a stripper on the sticker taped cover of Under Cover. An entire room was devoted to the gaudy suits that Mick Jagger wore in his renditions of ‘Sympathy For the Devil’. These are mostly fiery red costumes. Special is Gianni Versace's voodoo-tinged gravedigger's suit that is decorated with rabbit feet and other symbols of devil superstition.

A variation on a grenadier jacket (Jagger had more than one) illustrated the Rolling Stones' relationship with the fashions of the years 19631989. Artists had to stand out, especially Mick Jagger thought. Fashion designers Ossie Clark and Anthony Price put Jagger into increasingly colorful creations.

The reconstruction of the flat on Edith Grove in London's Chelsea, where Mick Jagger, Keith Richards, Brian Jones and sometimes Charlie Watts made a pleasant mess of their living environment. 84 OBJEKT

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Daily Paper is an Amsterdam based fashion and lifestyle brand established in 2012 by three childhood friends.

The once blog established by Hussein, Jefferson and Abderrahmane shared a love for music, art, fashion, and culture, growing the brand into a household name.

Fueled by the rich heritage of African culture wrapped in contemporary designs, Daily Paper has truly become one of the fastest growing fashion brands out of Europe.

With two collections a year focusing on both men and women wear, Daily Paper offers timeless designs across accessories, ready to wear and a range of capsules across the season.

Thee brand launched their first permanent retail space outside of Amsterdam, the Netherlands, with the opening of the NYC Flagship Store in 2020.

Located on the Lower East Side of Manhattan, the store is in the right spot to radiate the brand’s unique strain of multicultural Afro-centric Dutch culture. More than just a store, the space includes a cafe/lounge area that’s poised to become a sought-out destination and clubhouse for the city’s creatives, transplanting the strong sense of community from Amsterdam to New York. The Daily Paper Team partnered up with interior architect designer Heather Faulding of 4plus Design, to create a 1,140 sq ft space that reflects a physical manifestation of Daily Paper’s unique aesthetics combining ancient African culture with contemporary European design. Key elements are the facade, the statues, the mosaics, the arches, the glass floor, the coffee bar & lounge and the mural.

The Daily Paper store’s exterior is a return of old Amsterdam-style architecture to New York, with its white exterior adorned with the ornately rounded gables found on Dutch townhouses. The facade is covered with panels created from crushed drink cans shaped in a pattern that evokes African beadwork.

Upon entering the space, a visitor's initial impression is to enter into a museum. The play and contrast with the products is accentuated by the small windows which cut a vignette into the face of the building. Statues on columns evoke the ancient subject with a present day character. Mannequins with a futuristic glimpse and full height glass display cases for accessories mirror the museum element. The focal point of the lobby area is the circular stone mosaic in the center of the floor. Little lights in the position of the stars when Daily Paper was formed and the arches and beams above it, create the rich Old Dutch and Africa atmosphere. The sharp pitched clean white surfaces and mirror frames hanging below, form the contemporary.

Original photos: Alec Kugler

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A direct getaway from the retail into the second floor club pulls light through from new skylights. The glass floor gives view of the entranceway below it, allowing viewers to look down on the mosaic and product beneath them giving the impression of a continuous space.

The rails throughout the store are designed in the two toned triangular pattern found throughout Africa in black resin and stainless steel. The staircase features artwork on the risers and mirrored underbelly to lead people up to the club, coffee bar and lounge, which features the focal point is wrapped stone and porcelain with relaxed seating areas that reflect the same very relaxed style of the store and 'club'.

ABOUT DAILY PAPER CLOTHING

With an ability to unite global communities across borders, Daily Paper is more than a clothing brand.

Through creativity, fashion and education, we aim to inspire young adults and set an example of giving back.

Daily Paper has attracted a tribe of multidisciplinary creatives and cultivated a community of individuals who celebrate their own roots and champion inclusivity.

The diverse and deep-rooted diaspora culture is the bedrock of the brand, echoing in every collection and always portrayed through the lens of the youth.

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Affascinante Napoli

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One of the winners of the best unreleased products at Edit Napoli 2020 Comfort / Uncomfort by Finemateria, a chair with simple shapes in which aluminum and polyurethane foam interact in a symbiotic contrast.

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Thee second edition of Edit Napoli was held in October 2020, bringing editorial and authorial design to the complex of San Domenico Maggiore and to iconic cultural hotspots such as the San Carlo Theatre, the Filangieri Museum and the National Archaeological Museum of Naples. Edit Napoli is an innovative design fair initiated in 2019 by Domitilla Dardi and Emilia Petruccelli to support, promote and celebrate a new generation of designers.

It focuses on the rise of the designer-maker who is at the forefront of a movement that is challenging the traditional chain of production and distribution. The fair selects a group of international, independent producers, craftsmen and enlightened manufacturers, emerging as an autonomous force in contemporary design. It scouts designers, manufacturers, artisans and producers with practices rooted in making.

Domitilla Dardi and Emilia Petruccelli: â&#x20AC;&#x153;We donâ&#x20AC;&#x2122;t showcase vintage, historical design, galleries or prototypes. We are kind but selective. We like it different. Despite the number of international trade fairs there are none focusing on such a selective group of producers. Whether you are a retailer buyer, an interior designer, an architect or a design aficionado, we offer valuable business opportunities. â&#x20AC;&#x153;

Left-hand page: Edit banners in the Italian city of Napoli with Edit founders Domitilla Dardi and Emilia Petruccelli. Top right: Scapin Collezioni and below that one of the venues of the fair: Teatro di San Carlo with Foscarini and Moroso. (photo: Luciano Romano) OBJEKT

“We believe the best networking is not happening on social media platforms but face to face.”

They have a long love affair with Naples. The city has a rich history of a talented craftmanship and local manufacturer industry, a prestigious contemporary art scene and a vibrant community of collectors and progressive cultural institutions.

A Mediterranean capital in a land of undisciplined visionaries, navigating life with passion and individuality, attracts an international audience looking for that something else.

During Edit an expert committee assigned awards to the best unreleased products chosen from exhibitors and emerging brands and talents making their debut.

The site-specific installation ‘Ceramic Tower’ by Jaime Hayon for Bosa at the Filangieri Museum as part of the Edit manifestation. Below: Above: the Edit winners of best unreleased product 2020. On the left: Margherita Rui (photo: Mattia Balsamini) and Finemateria’s Gianluca Sigismondi and Stefano Bassan (photos: Nicolo Bressan) Right: Andrea Anastasio x Ceramica Gatti 1928 ‘Aritmia’ at Edit curated by Alessandro Rabottini at the MANN Archeological Museum, Naples.

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Alessandro Mendini

He was for decades one of the great Italian design inspirators with a vision of working with like minded people. His works were colorful and intelligent. OBJEKT International photographed his Abitare l’Utopia exhibition Alessandro Mendini curated for the 25th Abitare il Tempo in the Italian city of Verona in 2010. It is proof of his timeless vision. There he juxtaposed objects with other objects, in order to provoke emotional, memory-based associations. Mendini’s hypothesis was that whatever is in danger of getting lost in our digital world, will make way for a new outlook on the future. Mendini (Milan, August 1931 — February 2019) who was trained as an architect, pondered that possibility, addressing the works of Italian designers and artists. He was an artist who created exciting objects, striking buildings and ground breaking manifestations.

photos: Hans Fonk Above: Victor Toglianiâ&#x20AC;&#x2122;s Eridu (2010). A visualisation of the first human settlements on a new planet. He made this when he was working on the script for the film Dance of the Gods.

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The Utopia exhibition consisted of some hundred objects, freely selected by Alessandro Mendini representing past, present and future. Fragments of contemporary archaeology, as how he defined the artisanal, design and decoration objects with tje imprint of Italian creativity.

This individualism is not unfamiliar to Mendini. Moreover, his career has certainly been unusual for an architect. For example, he worked as a magazine designer for Casabella and Domus in the 1970s and later became art director for Bisazza.

Alessandro Mendini once called himself a designer of a Milky Way. A colorful Milky Way because color was essential in his world. Was this modest man referring with that assertion to Willem Kloos’s ‘I’m a god in the deepest of my thought’? That is the opening line of a well-known sonnet, in which the Dutch poet expressed the extreme individualism of the creative genius.

With him in charge of the creative side in the 1980s, the company was one of the first to work with architects and designers, including Sandro Chia, Ettore Sottsass, Jaime Hayon and Marcel Wanders. Today it seems perfectly normal, but until then it was unheard of. He rejected the idea that architecture

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arises from the city. He is firmly convinced that architecture can only be generated from the human body, which he calls the center of spatial experience. Once more evidence of Mendini’s interest in psychology. Alessandro Mendini, a war child, philosopher, thinker and creator, playing with the relationship between objects which, as he had put it, ‘evoke a memory and cause longing for the future’.

But what is past often acquires a different meaning in the light of the present. Objects in particular evoke strong emotional associations. Collective utopia was also represented in Mendini’s exhibition, by way of the countless props from the theatre, opera and films. In his way, Mendini demonstrated that a topos from the past can in turn be converted into a u-topos, by examining it with the certitudes of the present day.

Below left: meditation â&#x20AC;&#x2DC;podâ&#x20AC;&#x2122; chair designed for Edra by Steven Blaess. The chair with three armrest-backs can be associated with the various meanings a patient ascribes to his memories. The dark sculpture in the background was created by Stefano Casciani for Bisazza . Below: a model of the Chiesa del Redendtore at Isola della Giudecca in Venice (1577). The scale model was made in 1972 from limewood and ash with biscuit porcelain details for a project by Renato Cevese (curator), Andrej Soltan (designer) and the model-builders BallicoOfficina. In the forground the glass Gemini table was designed by Vico Magistretti for the Italian company, Fiam (1998).

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These pages: three armchairs from Fondazione Arena di Verona that were used in the 2000 performance of Giuseppe Verdiâ&#x20AC;&#x2122;s La Traviata. The opera was directed by Gilbert Deflo and staged by Gianfranco Padovani. The armchairs were made by Laboratorio di Scenografia. On the wall, left, an artwork by Marco Petrus - Casa Alta (2008). In the centre, a work by Simone Racheli, Anatomica Colf (2004), and right, a work by Massimo Caiazzo, Carciofo Cromatico (1998).

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One of Hans Fonk’s main achievements is OBJEKT©International, the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture. Thanks to the general concept, unexpected topics, the selection of designers, and quality of the photos, OBJEKT©International has gained the highest authority in its field. The magazine was first published end of 1991. OBJEKT©International is distributed in over 80 countries worldwide. OBJEKT©Asia is distributed in China. OBJEKT©USA-CANADA is distributed in USA and Canada.

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UNIQUE EXPERIENCES Selected Retreats for Family & Friends