d7 INTERNATIONAL
OBJEKT© iNTERNATIONAL Living in Style no. D7 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
Intrinsic beauty has always been the starting point for OBJEKT International and this edition is no exception. Beauty is timeless and that is why old and new, classic and avant-garde are always cheerfully mixed in the content of the publications.
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
Yes, OBJEKT International is based on interior design, but it goes further. An interior is more than an accumulation of furniture and accessories and above all more than something trendy: especially in a time when the rapid copying of all kinds of ideas and designs has been elevated to an art form.
Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany OBJEKT International ASIA/CHINA Cora Feng Xi Tang Art Center. No 2. Xi Ba He Road, Chaoyang district, 100028 Beijing, China 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.
So we always tend to go back to the basics in which spatial proportions, light and generous timeless pieces of furniture play an important role.
Contributing photographers: Zinkie Aw, Iwan Baan, Patrick Bingham-Hall, Marion Brenner, Thatcher Cook, Iago Corazza, Theodore Dreier, Alaia Fonk, Hans Fonk, Emmanuel Fradin, Douglas Friedman, Laure Joliet, Brian Khoo, Racy Lim, Antoine Lippens, Gerhard Maurer, Fabian Ong, John Pawson, Sanne Peper, Tom Rossiter, Ruy Teixeira, Wang Ting, Sofia Verzbolovskis.
Whether it concerns the new beach property of George Yabu and Glenn Pushelberg or the Chicago loft of two art collectors or a project of in rural eastern Senegal by the Albers Foundation and Le Korsa and the different ways in which Singaporeans share public spaces in an unban context: the basics are solid starting points for creating beauty.
photo: Alaïa Fonk
Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Lieuwma-Puijk
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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 : GEORGE YABU
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WHAT’S UP FOREWORD TREE, FOREST, NATURE
ENCHANTING SING VALUES
BALINESE MODERNISM
WHEN GAZELLES DREAM
THREE SHOTS OF ‘D’
THE VOICE OF THE SASSI INNOCENT ITALIAN BEAUTY
ESPRIT RESONANCE
ON THE WILD SIDE
FONDATION CAB
JOHN PAWSON AT SEA
ELEMENTAL FOLDS
FASHION/CULTURE
JORGE ZALSZUPIN
GEORGE YABU & GLENN PUSHELBERG
ART COLLECTORS HOUSE
MAR VISTA REFLECTIONS
FERRETI AT FULL SPEED
NO SKY, NO LIMITS
MOXI MIAMI BEACH
SNOWWHITE’S POWDER ROOM
OBJEKT INTERNATIONAL INFO PAGES
02 06 10 18 24 34 40 42 54 56 58 64 68 74 78 82 94 102 108 114 118 120 124
YOU CAN’T KEEP A GREAT CITY DOWN Ne w York, He re for You . Despite the prognosis during the worst of the pandemic, the real estate market in Manhattan has had a quick recovery, with pending sales currently at a record high. What this means if you are considering selling a property in Manhattan is that it is a seller’s market for apartments and townhouses that are properly priced for a value-driven environment. What this means if you are considering buying a property in Manhattan is that prices are trending up, but have probably not yet peaked. Whatever your real estate goals, this is a good time to buy or sell in New York.
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Klaus Littmann is fascinated by trees, the forest and nature in general. He lives and works as an artist, curator and producer in Basel, Switzerland. His project 'For Forest e Unending Attraction of Nature' in Klagenfurt 2019 astounded the international art and culture scene. e project reflected the heart of the matter of the 21st century. With the same spirit Littmann embarked on a new project in 2021, which delved further into this topic. Under auspicien of e Kulturstiung Basel H. Geiger | KBH.G, he created the temporary walk-in art intervention 'Arena for a Tree' on Basel's Münsterplatz, followed by his exhibition 'Tree Connections' at the KBH.G: an exhibition dedicated to the tree as a versatile topic in art history: from the 19th century until today. ‘Tree Connections’ presented around 75 works by famous 45 artists, many of which have never been on public display, while some have been uniquely commissioned for the show. All artworks were on loan from private collections, almost exclusively from Swiss private collections. What began around 30 years ago as an artistic intellectual game by Klaus Littmann, and was later implemented in the Wörtherseestadion in Klagenfurt in 2019, was carried on in Switzerland with a completely new approach. While in Klagenfurt a football stadium was filled with 299 trees, in 'Arena for a Tree' a single tree has become the main actor of the stage. It is the center of a public arena, in the heart of Basel in the middle of the busy Münsterplatz. ‘Arena for a Tree’ offered the opportunity to admire a unique tree at its center.
Above: Klaus Littmann’s project 'For Forest - e Unending Attraction of Nature' in Klagenfurt 2019: a football stadium filled with 299 trees. Below: Klaus Littmann between the trees. Photo: Emmanuel Fradin. Right: his ‘Arena for a Tree’ at the Münsterplatz in Basle, Switzerland. Original photo: Gerhard Maurer.
"Nature itself is a total work of art: it deserves an homage once in a while," said Klaus Littmann, explaining the intention for his installation around a single tree. e arena, constructed in collaboration with Schnetzer Puskas Ingenieure, had an irregularity of the outer shape and structure of a tree. Together with the surrounding grandstand inside, they depict the annual rings of a tree. As for ‘For Forest’, the tree was selected by the Swiss landscape architect Enzo Enea. “e tree is many things: a representative for the forest, an ambassador for nature and its preservation and of course also a testimonial for the exhibition cycle. "e arena will leave the Münsterhügel again but the tree should take root in Basel in the long run and will be given to the city as a gi" said Klaus Littmann. "Art in public space is the most democratic form of art. Accessible to everyone, it doesn't require the need of a didactic background. is is what Sibylle Geiger wanted for her foundation and the corresponding public art and cultural space," explained Raphael Suter, Director of KBH.G.
TREE # FOREST # NATURE
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Enchanting Sing Values ‘To Gather: The Architecture of Relationships,’ shined a light Singapore’s urban context and the different ways in which Singaporeans share public spaces. A daring contribution of the Island State for the International Architecture Exhibition of La Biennale di Venezia 2021, curated by Architect and scholar Hashim Sarkis. An experience of a unique Singaporean style of gathering and living tgether under the auspices of DesignSingapore Council and The Urban Redevelopment Authority.
Le: An Ode to Smell by Hyphen Architects + Brian Khoo + Mary Ann Ng. Original image: Brian Khoo. Right: Rewilding the Sky by salad dressing. Photo: Fabian Ong.
‘To Gather: The Architecture of Relationships’ profiled local architects and design talents through projects that reflected the different ways in which Singaporeans share public spaces. Drawing upon local spatial typologies, the exhibition showcased everyday stories, representing a broad cross-section of culture and society: an experience of a Singaporean style of gathering and living together. The projects brought together by four themes: Communing Relationships, Framing Relationships, Uncovering Relationships and Imagining Relationships.
“As a compact, island city-state with scarce land resources to support Singapore’s urban development, it is crucial to constantly balance the demands of the population across a wide variety of needs. Unique forms of public spaces have emerged from these considerations, with Singaporeans creatively establishing distinctive ways of encouraging the community to gather.” “However, rapidly evolving technologies may change the way public spaces are viewed by communities. Over the past year, Covid-19 has
Above: Both Sides, Now by Dramabox, Artswok Collective, Forest&Whale. Photo: Zinkie Aw. Beside that: Lighting Detectives by Lighting Planners Associates. Right: Kampung Admiralty by Woha. Photo: Patrick Bingham-Hall.
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also resulted in major shifts in the way the people of Singapore interacted with one another and with the surrounding built environment. ‘To Gather’ addresses the challenges in making them more sustainable, resilient, and safer, as the initiators of this ode to Singapore core values during the Venive Biennale. Curator of the Singapore Pavilion and Head of Department of Architecture in NUS, Prof Ho Puay-Peng, said: “Architects have
always played a significant role in designing safe, healthy, inclusive, and equitable spaces, particularly as Singapore begins to take steps to transition cautiously out of the current pandemic. Yet, this contribution to creating, sharing and building spaces cannot be without a re-learning of what it means to live together, and a new spatial contract for living together needs to be forged.” “Returning to the status quo is inexcusable. This global public health crisis can motivate architects to expand their roles in society innovatively and take this opportunity to actively shape a new culture and a new way forward.”
Le: Hawker Centers in Singapore by Lai Chee Kien. Original photo: Racy Lim. Right: Pulau Ubin Lives by Studio DO.
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BALINESE MODERNISM The years between 1928 and 1942 formed a brief, but significant period in Balinese art. For the first time, local artists were portraying everyday subjects alongside their traditional art products. The new works were in a new style, in which Western design and artistic perception played a subtle role. The German artist Walter Spies (1895-1942), who settled on Bali in 1927 in the hilly area above the village of Ubud, was particularly influential in the development of Balinese art in the early decades of the last century. Spies and the Dutch artist Rudolf Bonnet, who began working in Bali in 1929, decided to set up the artists’ association ‘Pita Maha’ to introduce Balinese art to a wider audience.
Around 1921 a regular steamship service was opened between Java and Bali, enabling wealthy and adventurous passengers to cross to the exotic island of Bali, where, locals claimed, the art and culture were still ‘pure’. Among the first tourists to visit the un-spoilt destination were Barbara Hutton, the seriously rich heiress of the Worthworth fortune, famous performers Charlie Chaplin and Cole Porter, authors like Noel Coward and the Mexican artist Miguel Covarrubias, prominent anthropologists and several European artists. Today Bali, one of over thirteen thousands islands of the Indonesian archipelago, is now a favorite destination for a far wider public. Beside the usual tropical delights, there are other worthwhile attractions: the island’s art and culture, stemming from ancient traditions that have endured for the most part, despite the influx of foreign visitors. The principals and customers for traditional artworks were, in the past, mainly members of the aristocracy or religious leaders. But the advance of tourism produced a group of potential buyers interested in more accessible Balinese art, and, accordingly, the style of sculpture and drawing entered a new stage. The film maker, Victor von Plessen, shot his film Insel der Demonen on Bali in 1931, thus activating wider interest in that island and its exotic culture. The German artist Walter Spies (1895-1942), who settled on Bali in 1927 near the village of Ubud, was particularly influential in the development of Balinese art in the early decades of the last century. Admittedly Spies did paint Indonesian scenes himself, but his artistic training, use of materials and knowledge of art history stemmed from Europe. Consequently his oeuvre was quite different in impact from anything the local artists had ever experienced. In Spies’s atelier Indonesian artists discovered materials like drawing paper, crayons and pencils, ready-to-use paints and treated canvas imported from Europe. They were working in traditional fashion, with simple, homeproduced materials. Their black drawing ink was made from lampblack mixed with Chinese fish-glue. They painted on hand-woven paper. Spies soon acquired a number of Balinese pupils from surrounding villages, including Batuan, Ubud and Sanur, who wished to become proficient in the new style and subject matter. A new market was to come about for the noncommissioned work of primarily young artists from Walter Spies’s circle. For example, in 1932 Charlie Chaplin purchased various erotically-flavored drawings in Balinese modernist style for 5 dollars a piece. In those days that was the equivalent of what a farm worker would earn in a month. The Balinese modernists worked mainly on paper, first making the drawing in pencil and then working it out in ink. Shading was hatched in to produce a surprising sense of depth. Details were added with opaque tempera paint. A characteristic feature of the drawings made under the supervision of Spies and his team, is the fact that the depiction fills the entire surface.
Previous pages: drawing of a standing female figure among luxuriant vegetation, ink and opaque tempera paint on paper, Batuan, c. 1936, 20.5 x 20.5 cm. Right: colourful drawing ‘Hunting Party’, annotation: B. Ud. Diksa, Batuan. Date: c. 1935. 27 x 16.5 cm. text: Ruud van der Neut photos: Hans Fonk
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These pages: many figures among houses in a village, ink and opaque tempera paint on paper, c. 1934, 34 x 47 cm.
Art historians call that ‘horror vacui’, the fear of leaving empty spaces in the composition. When you take a close look at these drawings, you see that tiny figures are ‘hidden’ everywhere. As you examine the subtle details, the artwork really comes to life. For example, the unique ‘vocabulary’ of these artists is punctuated with an intense feeling for composition, form and color. In 1934 the first sales exhibitions outside Bali were being held of the works by the artists working in a modernist vein. In 1935, the Bali Museum mounted an exhibition of the ‘new’ art in Jakarta. Spies and the Dutch artist Rudolf Bonnet (who began working in Bali in 1929) decided to set up the artists’ association ‘Pita Maha’. The prime objective was to introduce Balinese art to a wider audience. Revenues were earmarked for the participating artists. The Stedelijk Museum in Amsterdam, upon their initiative, devoted an important exhibition to contemporary Balinese art. However, the outbreak of war in 1942 in what were then the Dutch East Indies heralded the end of the Balinese Modernists’ heyday. The protagonist in the Pita Maha group, Walter Spies, was deported to Ceylon aboard the ‘Van Imhoff’, but shortly after its departure from the harbor of Padang, the ship was hit by a Japanese bomb, and sank. Nowadays paintings by Walter Spies from his Balinese period can fetch millions of dollars at auction. Until recently art lovers were unfamiliar with the distinctive drawings of the Balinese Modernists. Thanks too to collectors, who had assembled considerable collections in the nineteen-thirties. They include the American anthropologists Margaret Mead and Gregory Bateson, who acquired over twelve hundred works in the course of the few years they stayed on the island. Fortunately, they were inclined to mark the works with their title, artist and year of production on the reverse. Although the Balinese Modernists knew that Spies and other (European) artists signed, dated and added a title to their works, they did not. That meant that for many years their works were primarily assessed according to subject matter. The maker was of little importance. These days the stylistic characteristics, technique, format, materials and the early collectors’ valuable annotations can be compared, thus helping to attribute many an artwork to a specific Balinese artist of that period. In addition, there have been a number of successful exhibitions throughout the world featuring the oeuvre of these Balinese Modernists. Today their cultural heritage is represented in museum collections in such countries as the United States, Australia, Indonesia, Switzerland, Germany and the Netherlands; moreover, ‘Pita Maha’ works command substantial prices at auctions. There have been numerous publications devoted to this unique artistic movement, which basically forms a symbiosis between East and West. The artistic products have finally earned the place they deserve in art history.
Right: colorful drawing with a ‘tantri’ narrative featuring a tiger, snake, bird and a monkey. By the artist Id. Bg. Bg. Sasak, Batuan. 1930s. 33 x 24.5 cm.
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When Gazes Dream
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In 2021 the Josef and Anni Albers Foundation and Le Korsa unveiled the new Maternity and Paediatric Hospital in Tambacounda, Senegal, a transformative expansion designed pro bono by architect Manuel Herz.
Previous pages Thread, launched in 2015 by the Albers Foundation and Le Korsa: a cultural center for local inhabitants of the rural village of Sinthian, Senegal, Africa and designed by architect Toshiko Mori with a local leader in Sinthian. This pages Anni and Josef Albers, Black Mountain College, 1938. Photo: Theodore Dreier. Courtesy of the Josef and Anni Albers Foundation Part of their activities is the project Le Korsa to offer support to rural Senegalese communities across the fields of culture, education and health. In the middle the architect Toshiko Mori. Above: the elementary school in the village of Fass, designed in 2020 by Toshiko Mori, is the first school in a region of over 110 villages. The roofs are inspired by Anni’s textiles
The project hospital builds upon 15 years of work in rural eastern Senegal by the Albers Foundation and Le Korsa. Echoing Josef and Anni Albers’ shared ethos and belief in the use of ‘minimal means for maximum effect’, this project goes far beyond a single architectural structure, embedding itself within the local community, economy and landscape. It was in this spirit that in 2005 Nicholas Fox Weber, the Director of the Foundation, established Le Korsa to encompass the philanthropic initiatives of the Foundation in the region. Since then they have provided support to rural Senegalese communities across the fields of culture, education and health. The direct goal was to combat the poverty and illiteracy and improve their everyday living conditions of a struggling population.
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In Pulaar, the dialect of the African language of Fula, which is spoken in the region of eastern Senegal where the organization operates, ‘Korsa’ means "love from respect." In 2015 they launched Thread, a cultural center for local inhabitants of the rural village of Sinthian designed pro bono by architecture firm Toshiko-Mori, which since its establishment has fostered cultural exchange between local communities and international residents. In the field of education, the Foundation and Le Korsa realized in 2020 an elementary school in the village of Fass, designed once again by Toshiko Mori, the first school in a region of over 110 villages to provide secular education alongside traditional Quranic teaching. Both structures share subtle yet evocative references to Josef and Anni’s practices and Bauhaus aesthetics, such as the beautiful woven rooves reminiscent of Anni’s textiles and the geometric patterns on walls and doors recalling Josef and Anni’s prints. Left: Thread, launched in 2015 by the Albers Foundation and Le Korsa: a cultural center for local inhabitants of the rural village of Sinthian, Senegal, Africa and designed by architect Toshiko Mori with a local leader in Sinthian. photos: Iwan Baan, Sofia Verzbolovskis, Thatcher Cook. Courtesy of the Josef and Anni Albers Foundation.
The Tambacounda Hospital is the only major hospital in the region and is a vital resource servicing around 20,000 patients per year from the surrounding area, stretching across the border into Mali. The doctors had previously been working under extremely difficult conditions; with the original design leaving the communal spaces severely overcrowded. The new Maternity and Paediatric Hospital by architect Manuel Herz brings a sense of coherence and greatly improves the comfort of patients and their visiting families. Herz’s structure comprises a two-story building in a curvilinear form which brings two clinics – peadiatrics and maternity – together under the same roof and offers approximately 150 hospital beds. The extensive length of the building allows for the smooth circulation of staff and patients and accommodates multiple communal spaces both between the rooms and in the courtyards formed by the bends of the S-curve, turning it into the truly social spine of the hospital. The project includes passive climate design innovations to combat the challenges posed by the extremities of the local weather, and to help forgo the need for air conditioning. The building has a narrow width of seven meters, a feature which allows for all the rooms to be aired and cooled naturally through cross ventilation.
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These pages: the new Maternity and Paediatric Hospital at Tambacounda, Senegal: an initiative of the Josef and Anni Albers Foundation. Top right: architect Manuel Hertz and local leader dr. Magueye Ba. Photos: Iwan Baan, Sofia Verzbolovskis. Courtesy of the Josef and Anni Albers Foundation.
Africa has her mysteries, and even a wise man cannot understand them. B a wise man respes them Miriam Ma
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In addition, this mashrabiya inspired use of lattice-like brickwork with apertures has the advantages of blocking sun and facilitating air circulation, whilst also giving the hospital its distinctive recurrent visual motif and its beautiful play of light and shade. A second roof covers the primary roof of the extension, repelling most of the direct sunlight and creating a chimney effect, which draws the heat upwards and out of the rooms below. Herz has collaborated at all stages with local leader Dr. Magueye Ba and depended upon the expertise of the community, working almost exclusively with craftsmen and engineers from Tambacounda and the surrounding villages, and thereby helping to provide employment and support for the rural economy. The holistic nature of the project has helped generate further infrastructure for the area beyond the hospital. Herz and Ba subsequently built a small new school for the neighboring children. In addition Herz and his wife designed a playground, the first ever built in the city of Tambacounda. Sensitivity to the local landscape has also been a key facet of the project, with Herz’s design endeavoring to create as little disruption as possible to the local trees. Following the completion of the Maternity and Paediatric Hospital, Herz will build staff quarters to help attract more doctors from the city, in a design inspired by a print by Anni Albers. At the Venice Biennale of Architecture in May 2021 Manuel Herz presented ‘The Many Lives of Tambacounda’, an installation exploring the multiple narratives and lives that the Tambacounda hospital is embedded within. Right: artist impression by Hans Fonk of the production of the basic building bricks for the new Maternity and Paediatric Hospital at Tambacounda, Senegal.
Three Shots of Dee
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MCA, Mario Cucinella Architects, and WASP, World’s Advanced Saving Project, have completed Tecla, Technology and Clay, the first ecosustainable housing model 3D printed entirely made from local raw earth. Located in Massa Lombarda (Ravenna, Italy), the project became a reality thanks to the eco-sustainability research of the SOS, School of Sustainability (training center founded by Mario Cucinella), the pioneering projects of the architect and the collaborative 3D printing technology of WASP. Tecla is an innovative circular housing model that brings together research on vernacular construction practices, the study of bioclimatic principles and the use of natural and local materials. It is a nearly zero-emission project: its casing and the use of an entirely local material allows for the reduction of waste and scraps. This and the use of raw earth make Tecla a pioneering example of low-carbon housing. The genuinely innovative and pioneering approach was conceived from the start as a joint project between the two firms, who worked closely throughout the project’s design and construction.
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Metaphorically inspired by one of Italo Calvino's ‘invisible cities’, the city in continuous construction, the name Tecla evokes the strong link between past and future by combining the matter and spirit of timeless ancient homes with the world of 21st-century technological production. For this project, the architect not only explored housing solutions in formal aesthetic terms, it also studied the building’s shape in relation to its climate and latitude. In addition, the composition of the earth mixture responds to local climatic conditions and the filling of the envelope is parametrically optimized to balance thermal mass, insulation and ventilation according to the climate needs. It responds to the increasingly serious climate emergency, to the need for sustainable homes at Km0 and to the great global issue of the housing emergency that will have to be faced - particularly in the context of urgent crises generated, for example, by large migrations or natural disasters. photos: Iago Corazza
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“We le to thi th Tea is the beginning of a new story. It wod be try extraordinary to ape the fure by transforming ancie loc raw earth wh the tenologies avale today. The aesthics of this house are the rest of a tenic and meri effort; was not an aesthic approa oy. It is an honest form, a sincere form. " Mario Cucina - Founder and Creive Direor of Mario Cucina Ares.
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the Voice of the Sassi The ancient Sassi in the Italian town of Matera in the southern Italian region of Basilicata is an extraordinary phenomenon. The origins of the Sassi go back to prehistoric times when people started carving out houses in the gorges in the region. They constructed their dwellings with tufa limestone, from quarries in the immediate surroundings. Arond 1952 still 15.000 people were living there but then the Italian government prohibited this due to poor hygienic and sanitary conditions. In the center of the Sassi, at its highest point, is the cathedral from 1230. In addition to this church, the Sassi have no fewer than 155 cave churches, which are sometimes only a few square meters in size. It has been the location for two famous films: Pier Paolo Pasolini’s The Gospel according to St. Matthew in 1964 and The Passion of the Christ made by Mel Gibson in 2004. Since 1993 the Sassi of Matera have been listed as a Unesco World Heritage Site. For the locals the Sassi are very special. Walking through the settlement they hear the voice of the Sassi. They experience it as a place where people lived in harmony with their environment: a fantastic integration of wind and sunlight.
photo: Hans Fonk
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innocent & intrisic italian beauty Paolo Di Paolo & Pier Paolo Pasolini at
Fondazione Sozzani & Bulgari
Pier Paolo Pasolini on the Cinquale Beach (Versilia), 1959. Archivio Fotografico Paolo Di Paolo.
The Fondazione Sozzani presented the exhibitions La Lunga Strada Di Sabbia and Milano by the photographer Paolo Di Paolo, curated by Silvia Di Paolo, under the patronage of the Centro Studi Pier Paolo Pasolini and in collaboration with Bulgari. They presented a unique image of a time in history with a charming beauty. The exhibition Fondazione Sozzani, Corso Como 10, Milan, ran through August 2021 but the intrinsic beauty of of the images has no limits in time. La Lunga Strada Di Sabbia (The Long Road of Sand) with photographs by Paolo Di Paolo and texts by Pier Paolo Pasolini featured one hundred and one images, many of which are unpublished, as well as videos and relative documents. In 1959 Paolo Di Paolo was a 34 yearold man who had been photographing for five years for the historic monthly magazine ‘Il Mondo’ and its Art Director Mario Pannunzio.
Pier Paolo Pasolini was a promising 37 year-old writer who had published ‘The best of Youth’, ’The Street Kids’ and ‘A Violent Life’. He was not yet a film director. In Italy, the economic miracle had just begun. The newspapers tended to offer to Italian families a microcosm of mythical characters as a diversion to the dullness and fear of war, emigration, and poverty. Arturo Tofanelli, director of the monthly ‘Successo’ and the weekly ‘Tempo’, entrusted the two young men, Di Paolo and Pasolini, who did not know each other, to do a report on the Italian Summer Holidays. The writer and the photographer set off from Ventimiglia together, with the plan of traveling along the coasts of Italy to the south and climbing up to Trieste. But they had different visions. “Pasolini was looking for a lost world of literary ghosts, an Italy that no longer existed,” recalled Di Paolo.
Above: Sorrento. Right: Forte dei Marmi, 1959. Archivio Fotografico Paolo Di Paolo
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“I was looking for an Italy that looked to the future. I conceived the title ‘ Long Road of Sand’ meaning the strenuous road traveled by Italians to reach well-being and holidays after theWar.” So a complex, delicate partnership was born between Pasolini and Di Paolo, uniting them only for the first part of their journey. That experience would later be consolidated in mutual respect and trust. La Lunga Strada di Sabbia was published by ‘Successo’ magazine in three issues (July, August and September 1959). It told the story of Italians on vacation, from the Tyrrhenian to the Adriatic seas; from Ventimiglia to Ostia; from Calabrian Torvajanica to Sicily; from Apulian Santa Maria di Leuca to Trieste. Pasolini's words reflected both his eye for the beauty and his heart ache for the past when he speaks of “The mountains of Versilia… merry or gloomy? Here is one thing that can never be understood. A little crazy in their shape, and always inked with colors from the end of the world, those pinks, those flashes of marble that leak out as if by chance. But so sweet, mythical”. ‘Milano (photography 1956-1962)’ was the second exhibition, and presented a selection of Di Paolo’s images dedicated to the city he was so in love with because it is so different from Rome: “It was like going abroad”. An unprecedented gaze of a beautiful Milan and its mists and the tribute to the city of Milan continues continued in the Bulgari space. via Montenapoleone 2. with other unpublished pictures of the multiple and poetic ‘faces’ of the city. In addition to the ability to portray moments of everyday life, Paolo Di Paolo’s talent was able to grasp the charisma and beauty of the great actresses of the Dolce Vita who made
Walter Chiari a Fregene, 1959. Archivio Fotografico Paolo Di Paolo.
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Above: Anna Magnani in casa, Roma 1955. Eight: Liz Taylor ad una festa, Roma, anni '60. Archivio Fotografico Paolo Di Paolo.
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entire generations move, laugh and dream. In the 1950s and 1960s, Bulgari was the favorite jeweler of Italian divas and those who were passing through Italy to work on major Hollywood productions. Chased by the paparazzi, immortalized on social occasions or in private moments, the actresses loved to wear their jewels on and off the set as luminous symbols of charm and personal taste. In alliance with the Bulgari exhibition, the Fondazione Sozzani bookshop dedicated its walls to Anna Magnani, Elizabeth Taylor and Gina Lollobrigida as photographed by Di Paolo wearing Bulgari jewels at a variety of parties and theatrical performances. On display reproductions of the original sketches of the jewels they wore from the Maison’s Archives. Paolo Di Paolo was born in 1925 in Larino in Molise. In 1939 he moved to Rome to pursue his classical high school diploma. Immediately after the War he enrolled in the Faculty of History and Philosophy of La Sapienza University. Between the mid-forties and earlyfifties, he frequented the art circles of Rome coming in close contact with the group ‘Forma 1’. His artist friends encourage him to develop his creativity through photography. He works in publishing and in 1953 is appointed editor-in-chief of the magazine ‘Viaggi Cit. Le tourisme en Italie”. He always presented himself as an amateur photographer ‘photographing for pleasure’. Di Paolo’s photographic archives with over 250,000 negatives, contact sheets, prints and slides, remained hidden and perfectly ordered for decades. It was found by chance in the early 2000s by his daughter Silvia, who discovered an unknown part of her father’s life and brought to light the extraordinary reading of these unrepeatable historical moments.
La prima volta al mare, Rimini, 1959 Archivio Fotografico Paolo Di Paolo.
Bagnanti al Lido di Coroglio (Pozzuoli) 1959. Archivio Fotografico Paolo.
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e c n a n o s e r t i r i p es A majestic flock of Cranes takes flight in Shanghai, China: from the walls the new ‘de Gournay’ showroom to be more exact. Art Deco brilliance ‘Namban,’ and Oriental inspired hand-painted wallpaper set the exotic tone. The interior is the creation by Interior’s House for the British Chinoiserie wallpaper specialist de Gournay.
This is all about Chinoiserie: wallpaper rich and deeply intertwined with Chinese culture and its influence on European style. They were introduced in the1700s to the world via the new sea trade route between Europe and China, which replaced the Silk Road. Claud Cecil Gurney, founder of de Gournay, established his company in 1984 after touring factories in China. "After the rise of Communism, they had all these factories where people were painting little birds and bees and butterflies. They had at least 100 people painting these pictures to export. It could take 15 years to train an artist in China, and traditionally they spend eight to ten years copying someone else’s work before they could do their own," he said reflecting on the start of his adventure. "The traditional place we come from is pen-and-ink drawing on silk by hand, which is what has been happening in China for thousands of years," says Gurney. "And people still want that today. That gives ‘spirit-resonance’: a lasting impression of the artist who painted them.”
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FONDATION CAB saint-paul-de-vence
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Saint-Paul-de-Vence, in South of France, is a world renowned art enclave with Fondation Marguerite en Aimé Maeght at its epic center. Basically a very beautiful a small village on a hill, not far from Nice, it attracts visitors from all over the world, not in the last place for its famous restaurant and hotel La Colombe d’Or. Above: architect Charles Zana and Hubert Bonnet, founder of Fondation CAB. Right: impression of the new guestrooms with furniture and lighting by Alvar Aalto, Angelo Lelli, Jean Prouvé, Pierre Jeanneret, Max Ingrand and Hans J.Wegner. Contemporary and conceptual works by Julien Saudubray, Sarah Smolders or Peter Downsbrough decorate the walls. Below: the entrance to the new exhibition spaces. Red artwork by Meuser, Untitled, 1987 and screen by Daniel Steegmann Mangrané, Systemic Grid 27, 2021. Original photos: Antoine Lippens, courtesy of Fondation CAB SaintPaul-de-Vence.
Since 2021 it is also the French location of the Fondation CAB. Established in 2012 by Belgian collector Hubert Bonnet, Fondation CAB in Brussels is dedicated to the promotion of Belgian and international minimalist and conceptual art through a dynamic program of exhibitions and events. Housed in a 1930s Art Deco-style warehouse, built for the coal mining industry, Fondation CAB’s exhibition space offers visitors a unique environment to experience art.
Fondation CAB in Saint Paul de Vence is set up in a distinctive 1950 building, that Charles Zana has renovated, surrounded by a garden with a view overlooking the Cap d’Antibes. It has four guest rooms designed by Charles Zana, as well as a dismountable house by Jean Prouvé and an in-situ work by Felice Varini. The new guest rooms are decorated with taste and simplicity. The walls are pierced with large bay windows offering a view of the Foundation’s garden. A cedar wardrobe, a woven wool carpet designed by the architect, as well as a few pieces of French design, lamps and wall lights give the rooms a sense of comfort, elegance and charm. Each room celebrates the international architects of the last century through furniture and lighting by Alvar Aalto,
Angelo Lelli, Jean Prouvé, Pierre Jeanneret, Max Ingrand and Hans J. Wegner. Contemporary and conceptual works by Julien Saudubray, Sarah Smolders or Peter Downsbrough decorate the walls. With its bespoke programming, the Fondation CAB SaintPaul-de-Vence intends to become a key actor in the modern and contemporary art circuit of the region, which includes the Fondation Venet, the Domaine du Muy, the Commanderie de Peyrassol, the Château La Coste, the Villa Noailles and the Fondation Carmignac. The Fondation CAB Saint-Paul- de-Vence’s mission is also to contribute to the cultural and economic development of the village, both locally and internationally.
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These pages: the dismountable house by Jean Prouvé in the garden of Fondation CAB in Saint Paul de Vence. French self-taught architect, Prouvé designed in collaboration with Pierre Jeanneret, beginning of the 1940’s the famous dismountable houses.They stretched their imaginations in search of a solution to limit the use of this ma62 OBJEKT terial. Their ideas were ground braking.
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“From the beginning my work has been
o creing places where the eye is free
to trav. It is this freedom of moveme th lies the heart of the exhion I have made wh Saorenzo.” John Pawson
no water in sight john pawson meets sanlorenzo
On the occasion of the Biennale Architettura 2021, Sanlorenzo asked the minimalist designer and architect John Pawson to create the exhibition ‘A Point of View’ in the Sale De Maria of the Casa dei Tre Oci in Venice. The exhibition space has become a point of reference for photography over the years thanks to the major exhibitions that have presented the work of photographers such as Erwitt, Salgado, Berengo, Newton and LaChapelle.
The desire to identify new creative influences has prompted Sanlorenzo, one of the world's leading yacht and superyacht builders, to be the first in its field to launch collaborations with influential names in the world of design. Over the years they have brought on board a variety of different approaches and creative languages that have changed nautical design. This path has reached a new stage thanks to the collaboration with John Pawson, who was asked to interpret the interiors of a new Sanlorenzo metal superyacht, told through drawings and design sketches presented for the first time in this exhibition. The unmistakable mark of the English architect, whose value lies in meticulous attention to detail, a fundamental theme for Sanlorenzo, associated with a rigorous search for simplicity, took shape in the body of work that makes up the ‘A point of view’ exhibition. Structured in the two sections ‘Sanlorenzo’ and ‘Home’. The exhibition represented the tale of the designer's distinctive spatial poetry, which rests firmly on two cornerstones: the perfect calibration between space, proportion, light and materials, and the search for the essential by omitting the superfluous. Only when a project can no longer be improved by subtraction is the objective achieved. The idea that we can get in touch with the essence of space, through everything our gaze perceives, has always been a defining aspect of his work that affects every scale of design. Each element is thus treated according to the same meticulous process in the name of a pure and essential study of detail. These defining themes, which he pursued uninterruptedly for four decades, became the leitmotif of an exhibition that explored John Pawson's aesthetic vision through two parallel subjects: his own home and the new yacht he designed for Sanlorenzo.
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Elemental l m nt l Folds F l s - Kostas K st s Lambridis L mbr d s
Previous pages Left: the ‘It’s not enough’ bookshelf by Kostas Lambridis at the Elemental Folds presentation by Carpenters Workshop, Paris. Right: his Elemental Chandelier. These pages Below ‘Faux Baroque’ and Kostas Lambridis Right: his Elemental Cabinet.
The emerging Greek artist reconstructs iconic designs such as the famous Baroque Badminton Cabinet and Memphis bookshelf Carlton to create his own works. Carpenters Workshop Gallery, Paris, France, presented Elemental Folds, the first solo show by Kostas Lambridis. Nine works composed with found objects, handmade and mixed materials and assembled into completely unique largescale sculptures. An assembly of the pieces appearing to have been chaotically mismatched, but au-contraire intelligently assembled horizontally and vertically in order of their materiality. It is the non-hierarchical approach by Kostas, juxtaposing concrete, stone and ceramics with wood and plastics. He gathered unwanted objects from across Athens, which often hold both national and personal identities: from broken marble objects, stone taken from the artist’s aunt, broken window glass, tiles, bamboo baskets, rattan and wooden furniture, plastic garden chairs, car parts and hard plastic objects. To complete his works, Kostas created new elements from raw materials like integrating a bronze cast of his hand found in the ‘It’s not enough’ bookshelf, and assembling floral mosaic for Faux Baroque which references a floral design found on the Badminton cabinet. He created new elements and assembled them making each piece completely unique, and could often take months to complete. Julien Lombraill, co-founder at Carpenters Workshop Gallery: “Kostas’ works are very relevant today as we all explore ways in which we can live more sustainably. Kostas questions the materiality and shares his deep appreciation for objects and their longevity. We are pleased that Kostas is part of the Carpenters Workshop Gallery family.”
Kostas Lambridis (1988), is a Greek designer based in Athens, Greece. He started his studies on Syros, an island in the Aegean Sea, where he obtained a diploma in Design Engineering. In 2011 he moved to Eindhoven, The Netherlands to work for Nacho Carbonell for 8 years. In the he continued his studies at the Contextual Design master’s program of the Design Academy Eindhoven and he graduated Cum Laude in 2017. His graduation project ‘Elemental Cabinet’ brought him international attention. In 2019 he was part of ‘Metamorphosis: Art in Europe now’ at Fondation Cartier in Paris. At Carpenters Workshop he presented in 2021 ‘Elemental Folds’.
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rietveld academie amsterdam
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fashion culture
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The Rietveld Academie Fashion Show is the annual presentation of the fashion department of Amsterdam’s Gerrit Rietveld Academie. The year 2021 marked the fashion department’s evolution by experimenting with alternative presentation forms that fit the various graduation projects. The latest class of new design graduates went on location with a multidisciplinary group show. The audience could become part of the whole through a series of performative elements and interactions, participation and conversation. The Rietveld Academie Fashion Show 2021 presented the graduation projects of Bonnie Ogylvie, Chiara Frenzel, Emilia Christina Honnebier, Emma Lou Burkel, Karly Gerharts (Limo Hair), Malgorzata (Gosha) Woch, Millie Honnebier, Riun Jo and Roxane Mbanga. Each of them has a personal approach to fashion as a form of expression that can be described as ‘related to’: related to textile crafts and traditions, to the body, to identity, to representation and visual culture, to memories and sentiment, and to well-being.
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These pages Images of the presentations of the fashion graduates from the Rietveld Academie in Amsterdam, 2021. Beloew: works by Chiara Frenzel.Top right: works by Riun Jo and Emilia Christina Honnebier. Below that: the presentation by Malgorzata (Gosha) Woch. Original photos: Sanne Peper.
Niels Klavers, Head of the Fashion Department: “For the second year in a row, our students had to study and graduate under the challenging circumstances brought about by the covid pandemic. However, notable changes in attitudes and ambitions, and evolving ideas about our education, were already convincing enough for us to embark on an experimental journey before we were forced to a halt by this virus. We just saw the first results of these changes, that will hopefully lead to new practices to enrich the way we position ‘fashion’ in culture.” For the presentation, the department collaborated with curator Eduardo Léon, a Rietveld alumnus of the graphic design department, who runs Avoidstreet, a multi-disciplinary design practice that fuses fashion, graphic design, regularly gives workshops and guest lectures at the academy. Rietveld Academie Fashion Show 2021 was made possible by the ‘Keep an Eye’ Foundation and the Meester Koetsier Foundation.
Above: the polish born and naturalized Brazilian designer and architect Jorge Zalszupin. Beside that: the exterior for the house he lived in for more than half a decade. The house was opened for the first time for the exhibition ‘(Entre)empos: A tribute to Jorge Zalszupin’, thsnks to the efforts of Lissa Carmona, ceo of Etel, the official editor of his designs since 2005. Far right: part of the exhibition. photos: Ruy Teixeira.
(Entre)Tempos tribute to Jorge Zalszupin
Born in Poland in 1922, the designer and architect naturalized Brazilian Jorge Zalszupin would be 99 years old on June 1st, 2021. As a homage to his legacy, Etel (the official editor of his designs since 2005), presented ‘(Entre)Tempos: A tribute to Jorge Zalszupin’, an exhibition set inside the house he designed and lived for the past 50 years. Jorge Zalszupin moved to Brazil after World War II, where he developed his sensual and modern architecture. He wanted to rebuild a new post-war world and Brazil at that time proved to be ideal for this creative mind to flourish. Here his furniture designs came to life, defined by graceful lines, strong use of local woods and a combination of fine woodworking and classical detailing. He became part of a select team of furniture designers, who worked closely with Oscar Niemeyer on the conception and production of furniture for the new federal capital Brasilia. The pieces he designed during this time were made of a combination of leather and classical Brazilian rosewood. A significant part of Zalszupin's furniture production is tributary to his architecture. He used a new design language, while maintaining a functional view of ambience for internal
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spaces. The need to create a successful harmony between architecture and his furniture was the reason behind establishing his own company L'Atelier, a design collective of architects, engineers, craftsmen and a full-scale team of professionals. They did everything from researching materials to the finalizing producst. With the birth of the utopic Brasilia during the 1960’s and 1970’s, virtually no public building was left unmarked by the brand’s creations. The house he lived in for halve a decade opened to the public for the first time, due to the efforts of Lissa Carmona (Etel CEO) and curator Mariana Schmidt from MNMA Studio. They created an exhibition with Zalszupin’s works in an ephemeral and contemporary atmosphere, where, free of ornaments, the spaces highlighted the essential substance of Zalszupin's work: from architecture, design, to fine arts. For Lissa Carmona, this was an opportunity to perpetuate his legacy for future generations. "Jorge Zalszupin, along with other important names of Brazilian modernism, elevated the Brazilian Design Internationally, in which today has the relevance and recognition, side by side to renown international styles" she said.
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The beachfront house is located on the southern shore of Amagansett, The Hamptons, New York. It is the summerhouse of the interior design stars George Yabu and Glenn Pushelberg. The oasis reflects the manner in which they wish to live during the summer.
Stelle Lamont Rouhani Architects brought to life the owners vision for a home nestled within the dunes of Napeague Beach. The two-story residence comprised of custom wood cladding and louvres that give sculptural beauty to the surrounding landscape. Protected land and wildlife presented a unique design challenge resulting in a cantilevered home that makes residents and guests feel as if they are living within the sloping dunes that run along the shoreline.
The beachfront property of George Yabu and Glenn Pushelberg represents an architectural masterpiece providing the ultimate retreat in thoughtful simplicity and serenity. Located on the southern shore of Amagansett, New York, this oasis perfectly reflects the manner in which the design duo wish to live during the summer.
Stelle Lamont Rouhani Architects brought to life Yabu and Pushelberg’s vision for a home nestled within the dunes of Napeague Beach. The two-story residence comprised of custom wood cladding and louvres loans sculptural beauty to the surrounding natural landscape.
Top left: George Yaby and Gleen Pushelberg on a costom made Motleni sofa. Above: fresk sea breeze is everywhere in their he beachfront houselocated on the southern shore of Amagansett,The Hamptons,. Right: the house designed by Stelle Lamont Rouhani Architects
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Two pathways lead up to the main house and the second passing through a sheltered outdoor dining space into a collection of guest rooms thoughtfully grouped on the ground floor. Up the main stairs and through the home’s main entryway, panoramic views of the Atlantic set the tone for the summertime retreat. Sliding glass walls transform main living room into openair gathering place, blending any distinction between indoor and outdoor worlds. An open plan kitchen, dining and living room offers an inviting atmosphere for guests to settle in, and for conversation to seamlessly flow throughout an evening evolving from dinner to sunset sighting to cozy nightcaps in front of the fire. A wraparound terrace connects living room with master bedroom, offering an array of seating vignettes from which to enjoy the sunrise.
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These pages: the center point of the house with the living, kitchen en dining area.The place can be opened entirely by sliding louvre doors 88connecting indoor OBJEKT living spaces with the outdoor terraces.
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The beachfront property of George Yabu and Glenn Pushelberg represents an architectural masterpiece providing the ultimate retreat in thoughtful simplicity and serenity. It was designed by Stelle Lamont Rouhani Architects. In the bedrooms, next to the sand dunes, tranquility prevails.
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Never a dull moment with George Yabu and Glenn Pushelberg who founded their design office Yabu Pushelberg in Toronto in 1980 with the emphasis on interior design. Since then they have conquered the world with their balancing acts of well defined and royal proportions, colors, light, unexpected combinations of classic and modern elements and the integration of great artworks. From the start they focused on the use of contemporary art in their projects, commissioning artists to create large-scale installations, including Toronto's Dennis Lin and Montrealer Pascale Girardin.
The quality of their design works cemented their names at the top of the international design world. They operate since years from their offices in Toronto and Tribeca, New York City and were honored as ‘Officers in the Order of Canada’, the country's highest honor.
Beside interior design, they have created special items for furniture makers and light manufacturers. Yabu Pushelberg supports charities including New York's Hetrick Martin Foundation for lesbian, gay, bisexual, transgender and questioning youth.
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These pages: the summer house of George Yabu and Glenn Pushelberg is all about enjoying nature and light.
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art collecting chicago style
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A full penthouse floor of a Chicago high-rise with 11 foot high ceilings, a double height space looking south to the city, and 360 degrees views, looked like the perfect space for two art collectors, to be reshaped for their future home. The pace was gutted to a shell condition, awaiting the new interventions so they asked Dan Wheeler and Janette Scott of Wheeler Kearns Architects in the city to let their creativity go wild. The owners’ brief was short and simple: create “a home we love, have pride in, are comfortable in and would have the ability to entertain graciously with simple elegance.” The owner’s the brief included also creating space for numerous pieces of mid-century to present day) furniture, sculpture, art.
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The penthouse had to feel comfortable for the couple and their dog, their immediate family, and philanthropic events for 75 people. The process was truly collaborative, with the owners intimately knowledgeable, fascinated in construction; the way buildings and things were made. Discussions often led to Jean Prouve and Pierre Chareau, who offered the precedent of machined elements that could operate, and transform spaces of long views and openness to ones contained, and in between. For the completion of the interiors the architects and owners worked with Sharlene Young, principal and founder of Symbiotic Living Architecture and Design. The first essential decision was to go for the
These and previous: the interior of the Chicago penthouse is dominated by space, light and art. Dan Wheeler and Janette Scott of Wheeler Kearns Architects transformed a rough casco into an elegant and timeless living and entertaining space. For the interiors they worked with Sharlene Young, principal/founder of Symbiotic Living Architecture and Design. photos: Tom Rossiter.
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non-directional end-grain walnut floor, providing the visual weight and durability of a factory. Plastered perimeter walls were fitted for art. Perforated metal, slatted wood, and floating planes of fabric provided acoustic absorption. Machined, patinated steel fabrications were subsequently ‘inserted’ as operative/func-
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tional elements. Barn/pocketing doors, shelving/storage/mezzanine loft and stair, doors and jamb-liners, were chosen to toughen the space. After all, the client’s father was a machinist, and what could be a greater sign of respect than selecting correct fastener size and drive, countersunk of course.
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The main parameters for the interior were non-directional end-grain walnut floor, providing the visual weight and durability of a factory and plastered perimeter walls for the art . Perforated metal, slatted wood, and floating planes of fabric provided acoustic absorption.
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Mar V
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It was a modest tract home in Mar Vista, California, that the owners had lived in for more than 30 years. Architect Tim Gorter modernized and expanded the residence, heightening features they appreciated and resolving long-standing frustrations with the original design. The redesign preserved the bones of the existing structure but transformed it from a cramped, dark, and dated space into an open and day-lit home imbued with mid-century modern character. The architect went to work rigorously. The ultra-low-profile butterfly wing roof replaced the old pitched one, clarifying the roofline and making space for clerestory windows without raising the house's overall height. The clerestory, full-height windows fill the interiors with sunlight from a high angle, enlivening the space with dramatic shadows. The windows also open a distant view to the Hollywood Sign, a landmark the clients never before realized they could see from their property. The redesign added a new glass-and-steel volume on what was a small and underused front lawn. The addition balanced the house's massing and made room for a home office, a new bedroom, two bathrooms, and a laundry room. The home office is wrapped around with windows that are mirrored by a steel screen added to the garage, bringing harmony to the front elevation. The butterfly roof extended over a rock garden and new entry path, bridging the addition and the garage and defining the entry sequence. The addition and garage now frame a terraced rock garden inspired by karesansui, traditional Japanese landscape gardens meant to be contemplated from a single viewpoint. A keyhole cut in the roof above the garden creates a play of light and shadow. The interior design worked with the constraints of the existing situation, maintaining difficult-to-relocate elements like the fireplace and perimeter walls, while reimagining spatial flow to offer expansive living environments. The existing fireplace threatened to disrupt the plan, but it could not be relocated because of California code restrictions prohibiting new open wood burning fireplaces in residential projects. To overcome this, Tim Gorter redesigned the fireplace as a free-standing sculptural element that defined the edge of the living space. Recalling the mid-century interiors of architects like Frank Lloyd Wright, the fireplace organized movement around it to distinguish theliving space, hallway, and kitchen as separate zones. The interiors now blend the rational approach of mid-century modernism with warm finishes like maple cabinetry and doors. The selection of mid-century furniture is complemented by the client's collection of antique radios.
Previous and these pages: the house in Mar Vista, California, that architect Tim Gorter redesigned and modernized. Next pages: the interiors recalling the mid-century interiors of architects like Frank Lloyd Wright. photos: Andy Wang.
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Majestic and versatile, spacious and spatial are the superlatives that Ferretti Yachts claims for her model 1000 flagship. It is the largest boat ever built by the brand. Launched in 2021 and the product of a design process inspired by the search for perfection, the new flagship is an impressive project, made of talent and technology, the ability to innovate, and craftsmanship and an anthem to ‘Made in Italy’. The yacht is the result of collaboration between the Product Strategy Committee led by Mr. Piero Ferrari, the Ferretti Group Engineering Department, architect Filippo Salvetti for the exteriors, and Ideaeitalia for the new interior concept. According to her creators the 1000 yachts reshape space and change the whole approach to life on board with new design solutions and an interior mood developed to adapt to the owner’s various needs. The exterior styling is based on sporty lines that dominate a profile featuring new glass side panels aft and amidships. Teak is used widely: from the swim platform in the stern, it is reprised on the contours of the rear door, on the walkways and on the stairway up to the fly-bridge, as well as cladding the external helm station. For the first time in the brand’s history, carbon fiber was used on various parts of the superstructure and hard top. The sense of a space to live in prevails. The relationship with the surrounding environment is intensified by large full-height windows, that let natural light flood in, while the freestanding furniture conveys a sense of lightness and the contours of the geometrical detailing have a unique style. Walnut wood is used throughout the yacht’s interiors: flame-colored and bold for the furniture, striped and softer for the walls, and ribbed for special accents. The special ribbing technique is also used to enrich and embellish the marble in the service areas. The parquet, which reprises the pale color ways, is blended with the other materials, from the ceilings to the furniture’s back-painted glass tops, giving the setting a relaxed, smooth and elegant tone. There was a special focus on a completely new lighting design, with round spotlights used throughout the boat because of their optimum performance and minimum size. All the technical features were designed to be hidden by architectural details. One of many examples is the new Garvan audio system, which is made up of small loudspeakers integrated seamlessly into the ceiling that deliver high quality sound.
These pages: the versatile and spacious interiors of Ferretti Yachts 1000 were designed by Ideaeitalia. Large full-height windows accentuate the feeling of contact with the water and let natural light flood in.
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The exterior styling of the Ferretti Yachts 1000 is sporty with new glass side panels aft and amidships. For the first time in the brand’s history, Ferretti Yachts 1000 makes extensive use of carbon fiber on parts of the superstructure and hardtop. The yacht is capable of speed up to 28 knots.
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BEYOND TH
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HE LIMITS OF THE SK Y “If architecture and
interior design is to be truly defined as an art
form, this is it: the new Palace in Saudi Arabia.
Our goal was to create a large-scale private
residence that would have elements of a
luxury hotel, an art
gallery and a family home. Functional and
comfortable at the same time, ideal for family
living and for entertaining.” UDesign from Marbella
Spain, who created The Palace, featuring Covet House pieces.
The designers of UDesign continued: “If you thought you’ve seen all this before, don’t worry: you have. Or at least, something like it. The design of The Palace is based on the traditional Spanish cortijo, that wonderful architectural tradition dating from Moorish times, where all social life centered on the courtyard, and where water formed an essential part of the whole. And if you’ve been to the Alhambra Palace in Granada, this might also give you a déjà-vu moment.” “The Palace is all about greenery, light and natural raw materials. Huge tall spaces with a family-home feel, impressive mosaic columns, different bodies of water and creative lighting: all spaces are as beautiful by night as by day.” The Palace was to create a large-scale private residence that would have elements of a luxury hotel, an art gallery and a family home. Its clean, linear form is softened with landscaping in the shape of a series of gardens that wrap around and continue inside the home. The lounge is curated with unique designs such as autumn breeze artefacts, a floating stairway cutting through the wall and tinge detailing of gold, silver and mercury. Interior elements by Boca Do Lobo, Delightfull, Brabbu, Koket, Maison Valentina, Circu, Luxxu, Essential Home, Rug’Ssociety, Pullcast, Foogo, and Caffe Latte. photos: courtesy of Covet House.
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moxi to the
max
The Rockwell Group from New York City has unveiled the interior design of Moxy South Beach in Miami, a seven-story boutique hotel with 202 rooms that draws on its vibrant context to create a rich fusion of style and culture. The place references the unique impact of Miami culture, from 1950’s glamour to the romance of Clyde-Mallory cruises to Havana, creating a blend of evocative spaces, curiosities and
experiences throughout the hotel, including several sitespecific installations. It celebrates a spirit of carefree sophistication, with a 72-foot pool on the second floor, a state-of-the-art fitness center and a rooftop lounge with ocean views over Miami Beach. Greg Keffer, partner and studio Leader at Rockwell Group, led the design of this project.
Above: the rooftop of the Moxi with a large pool and slightly submerged lounge chairs and daybeds and a freestanding screen for outdoor rooftop movies. Insert: one of the state rooms inspired by cruise ship experience. original photos: Michael Kleinberg
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Previous pages White was the primary color used at the lower levels of the Park Rception Hall of Luxerivers project. The swimming pool ‘Sunshine Forest’ has geometric luminous lamps simulate the natural sunlight shining into the water and create the visual feeling of the sunshine forest. These pages Above: the Park Reception Hall in between the rivers at the city of Chongqing, China. Beside that: the different space on the lowers level bathing in light. The design concept is an art museum worthy. Photos: Wang Ting
Encircled by two rivers, Chongqing in China is of undulating terrain. Compared with other cities, Chongqing has a sense of folds, a stereoscopic effect, and a concave shape. e three-dimensional beauty of Chongqing was the main guidance for the design by MOD Architectural Design from Shanghai) for the Park Reception Hall of Luxerivers project. rough the artistic expression of the natural environment and urban culture, developer Wanhua Group presented a new landmark in Chongqing for
the first time: a concept an art museum worthy. e Park Reception Hall was jointly designed by the design team jointly led by Feng Weimo, the MOD Architecture founder and Song Zhen, Vice General Manager of Wanhua Decoration Center. Feng Weimo: "We wanted to establish a spatial relationship symbiotic with nature. Chongqing's geographic features were taken as the design source, and the space and functions connected with a bionic skin, so as to realize the experience of seamless connection and natural transition in the reception hall, rather than the existence of separate spaces."
e designer adopted the spatial processing technique of backward overlapped steps as the conception of stairs. e inner-surface facade technique reflects the spatial attribute of an ’Art Museum’ by interspersing among all spaces. Stairs, watchtowers and functional areas, such as the dining hall, book bar and exhibition hall, are extended in the space, reflecting the landscape and culture of Chongqing in design. e concept of natural terraces was introduced into the design by means of the large steps with rich
regional characteristics. In addition, the 6-m high large arc-shaped stairs meet the requirements of activities and gatherings. e designers adopted the concept of light show and moving and floating light to create a sense of bursting of light. e light changes present different beats, rhythms and levels of the space with a distinctive artistic sense. e ceiling of the arc-light hall, called ‘Waterfall of Light’, implied the light of civilization contained in the iterative evolution of the times.
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OBJEKT INTERNATIONAL
- the world standard for style
www.objekt-international.com 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 produced for China and surrounding countries.
OBJEKT INTERNATIONAL
artwork: Hans Fonk
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