‘No-Thing’, an exploration into aporetic architectural furniture
‘No-Thing’, an exploration into aporetic architectural furniture
Curatorial Statement Andy and Dave Ania Jaworska architecten de vylder vinck taillieu Leong Leong MILLIØNS MOS Norman Kelley Pezo von Ellrichshausen SO – IL Index
p. 07 p. 13 p. 21 p. 27 p. 33 p. 41 p. 47 p. 53 p. 61 p. 69 p. 75
Curatorial Statement Andy and Dave Ania Jaworska architecten de vylder vinck taillieu Leong Leong MILLIØNS MOS Norman Kelley Pezo von Ellrichshausen SO – IL Index
p. 07 p. 13 p. 21 p. 27 p. 33 p. 41 p. 47 p. 53 p. 61 p. 69 p. 75
‘No-Thing’, an exploration into aporetic architectural furniture.
The newly commissioned contemporary objects in this show at Friedman Benda, created by nine distinct architectural studios, all share a non-dogmatic approach to object creation. Defined by a common reliance on their imagined users, these objects do not impose a closed set of values, but rather depend on their subjects for completion and on the “third voice” that emerges in the in-betweenness of the
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‘No-Thing’, an exploration into aporetic architectural furniture.
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The newly commissioned contemporary objects in this show at Friedman Benda, created by nine distinct architectural studios, all share a non-dogmatic approach to object creation. Defined by a common reliance on their imagined users, these objects do not impose a closed set of values, but rather depend on their subjects for completion and on the “third voice” that emerges in the in-betweenness of the
object-subject relationship. It is in this space that the object emerges as such, as a no-thing —a term defined by R.D. Laing in The Politics of Experience. A no-thing situates itself between its users’ varied perspectives, educations, backgrounds, organizations, group-loyalties, affiliations, ideologies, socioeconomic class interests, temperaments, and the architects’ open-ended project. In Negative Dialectics, Theodor
Adorno detects this “nonidentity” between concept and reality, escaping any possible sensuous apprehension, living outside the world of objects, yet leaving a trace behind. We, the users, when confronted with no-things, are captured by the existence of something present but missing, something deliberately taken from us, which we are eager to know more about. The no-thing’s denial haunts us and grips us
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object-subject relationship. It is in this space that the object emerges as such, as a no-thing —a term defined by R.D. Laing in The Politics of Experience. A no-thing situates itself between its users’ varied perspectives, educations, backgrounds, organizations, group-loyalties, affiliations, ideologies, socioeconomic class interests, temperaments, and the architects’ open-ended project. In Negative Dialectics, Theodor
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Adorno detects this “nonidentity” between concept and reality, escaping any possible sensuous apprehension, living outside the world of objects, yet leaving a trace behind. We, the users, when confronted with no-things, are captured by the existence of something present but missing, something deliberately taken from us, which we are eager to know more about. The no-thing’s denial haunts us and grips us
tightly. In our thoroughly commodified environment, where goods are harder and harder to singularize, we might better forget about traditional semiotic relationships between signifier/signified, and instead begin to concentrate on the non-authoritarian character of the no-thing, its egalitarian in-betweenness. Indeed, it is through objects like the ones in the exhibition that the space necessary for the
construction of a new self in society can emerge. Not a utopian, idealized self, but an ambiguous figure, uncertain of its destiny; as uncertain as these aporetic furniture works. Within this framework, where the objects truly emerge through affect, one is urged to take not solely a passive but an active role. Firstly, by reconsidering the Foucauldian notion of the “care of the self,”—both collectively
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tightly. In our thoroughly commodified environment, where goods are harder and harder to singularize, we might better forget about traditional semiotic relationships between signifier/signified, and instead begin to concentrate on the non-authoritarian character of the no-thing, its egalitarian in-betweenness. Indeed, it is through objects like the ones in the exhibition that the space necessary for the
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construction of a new self in society can emerge. Not a utopian, idealized self, but an ambiguous figure, uncertain of its destiny; as uncertain as these aporetic furniture works. Within this framework, where the objects truly emerge through affect, one is urged to take not solely a passive but an active role. Firstly, by reconsidering the Foucauldian notion of the “care of the self,”—both collectively
and individually—thus paving the way for new ethical considerations and the exercise of freedoms, vis-à-vis ritualistic, domestic activities that engage one in a deeper self-consciousness of one’s bodies. These activities are clearly evident in the work proposed by MILLIØNS, which liberates the corpus to navigate freely, but also in the work of Leong Leong and Ania Jaworska, where objects unleash the body by challenging
established archetypal notions around the positioning of furniture in the domestic landscape. Spatial regards are also channeled through a play of optics in Pezo von Ellrichshausen’s guillotine doubleworkstation, which goes beyond the purely rational Durerian apparatus grasping, into the sphere of the irrational and utterances of what is beyond apprehensible. Continuing the walk throughout the gallery, one
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and individually—thus paving the way for new ethical considerations and the exercise of freedoms, vis-à-vis ritualistic, domestic activities that engage one in a deeper self-consciousness of one’s bodies. These activities are clearly evident in the work proposed by MILLIØNS, which liberates the corpus to navigate freely, but also in the work of Leong Leong and Ania Jaworska, where objects unleash the body by challenging
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established archetypal notions around the positioning of furniture in the domestic landscape. Spatial regards are also channeled through a play of optics in Pezo von Ellrichshausen’s guillotine doubleworkstation, which goes beyond the purely rational Durerian apparatus grasping, into the sphere of the irrational and utterances of what is beyond apprehensible. Continuing the walk throughout the gallery, one
confronts Andy and Dave’s set of objects, where, if one had previously seen space infinitely extended, now one sees a topological collapse through the abstraction of specific, re-contextualized moments of the city. This mimetic approach becomes even more evident (to the point of ironic self-mockery) in the impressionistic approach of Norman Kelley, which rejects the ‘shock-of-the-new’ vulgar strategy of late capitalism,
and instead pushes one (as one pulls back) to find in one’s memories traces of past stylistic references, tricking one through ambiguity to discover the different “masked” typologies of objects. Moving further along, one finds MOS’s seemingly conventional table. Part of their “Model Furniture” series—a set of works that take architects' reproductions of furniture in scale models as a starting point for the
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confronts Andy and Dave’s set of objects, where, if one had previously seen space infinitely extended, now one sees a topological collapse through the abstraction of specific, re-contextualized moments of the city. This mimetic approach becomes even more evident (to the point of ironic self-mockery) in the impressionistic approach of Norman Kelley, which rejects the ‘shock-of-the-new’ vulgar strategy of late capitalism,
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and instead pushes one (as one pulls back) to find in one’s memories traces of past stylistic references, tricking one through ambiguity to discover the different “masked” typologies of objects. Moving further along, one finds MOS’s seemingly conventional table. Part of their “Model Furniture” series—a set of works that take architects' reproductions of furniture in scale models as a starting point for the
development of new, full-scale furniture—this table is built on a photo, of a reproduction by another architect. Finished in a glittery black, MOS's table makes this structure, its endless copies and reproductions of reproductions, into something else. Finally, the show ends with a subtle gesture towards ontological concerns, in architecten de vylder vinck tallieu’s lounge chair. Poetically made out of what could, at first
sight, be seen as a set of architectural materials resting casually in a construction site, this work is the perfect exemplification of the kind of dialogical relationship this show aspires to and I described above: a humble suggestion to re-assess our material world by bringing forth a new way to imagine our bond to the things around us. Juan Garcia Mosqueda Cambridge MA USA
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development of new, full-scale furniture—this table is built on a photo, of a reproduction by another architect. Finished in a glittery black, MOS's table makes this structure, its endless copies and reproductions of reproductions, into something else. Finally, the show ends with a subtle gesture towards ontological concerns, in architecten de vylder vinck tallieu’s lounge chair. Poetically made out of what could, at first
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sight, be seen as a set of architectural materials resting casually in a construction site, this work is the perfect exemplification of the kind of dialogical relationship this show aspires to and I described above: a humble suggestion to re-assess our material world by bringing forth a new way to imagine our bond to the things around us. Juan Garcia Mosqueda Cambridge MA USA
Wanna go there! (Partition) Wanna go there! (Partition)
Andy and Dave, Wanna go there! (Partition) Where is this? (Bench)
From questions about the relevance of place, to our complicated engagement with social media and its culture of vicarious lifestyle, to concerns about cultural appropriation, preservation, and cultural tourism, these two pieces are small explorations into major overlapping themes and questions that have been relevant to the trajectory of contemporary architecture for some time and are increasingly relevant to design at the scale of the object.
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Andy and Dave, Wanna go there! (Partition) Where is this? (Bench)
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From questions about the relevance of place, to our complicated engagement with social media and its culture of vicarious lifestyle, to concerns about cultural appropriation, preservation, and cultural tourism, these two pieces are small explorations into major overlapping themes and questions that have been relevant to the trajectory of contemporary architecture for some time and are increasingly relevant to design at the scale of the object.
Each piece seeks to engage in dialogue with a specific place in Manhattan. Both are unsung, culturally significant interiors where the boundaries between art and architecture have been blurred. Wanna go there! (Partition) looks to a former hayloft in the New York Studio School that was once the personal studio of Gertrude Vanderbilt Whitney and the original site of the
Whitney Museum. Particular attention is paid to the allegorical plaster sculpture by Winthrop Chanler that engulfs the fireplace. Where is this? (Bench) is inspired by the warm-white fragments of the Louise Nevelson designed Chapel of the Good Shepard located inside of Saint Peter’s Church, under the Citicorp tower.
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Each piece seeks to engage in dialogue with a specific place in Manhattan. Both are unsung, culturally significant interiors where the boundaries between art and architecture have been blurred. Wanna go there! (Partition) looks to a former hayloft in the New York Studio School that was once the personal studio of Gertrude Vanderbilt Whitney and the original site of the
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Whitney Museum. Particular attention is paid to the allegorical plaster sculpture by Winthrop Chanler that engulfs the fireplace. Where is this? (Bench) is inspired by the warm-white fragments of the Louise Nevelson designed Chapel of the Good Shepard located inside of Saint Peter’s Church, under the Citicorp tower.
Where is this? (Bench) Where is this? (Bench)
Andrew Miller and David Ruperti are the founders of Andy and Dave, an architecture and design practice in Brooklyn dedicated to producing work that draws inspiration from the experience of contemporary life. It began with the purchase of a URL. Then it evolved into an undefined, somewhat transgressive, collaborative space, parallel and outside of professional practice, permitting a kind of no-holds-barred exploration of design ideas free from academic or market-imposed constraints. Since then it has evolved toward resembling something closer to an actual design studio. The work is concept-driven with a strong focus on exploring the blurring boundaries of the design disciplines with particular attention paid to evolving cultural norms around social media and the public sphere, identity, and material culture.
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Andrew Miller and David Ruperti are the founders of Andy and Dave, an architecture and design practice in Brooklyn dedicated to producing work that draws inspiration from the experience of contemporary life. It began with the purchase of a URL. Then it evolved into an undefined, somewhat transgressive, collaborative space, parallel and outside of professional practice, permitting a kind of no-holds-barred exploration of design ideas free from academic or market-imposed constraints. Since then it has evolved toward resembling something closer to an actual design studio. The work is concept-driven with a strong focus on exploring the blurring boundaries of the design disciplines with particular attention paid to evolving cultural norms around social media and the public sphere, identity, and material culture.
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Freestanding Bookshelf
Freestanding Bookshelf
Ania Jaworska, Freestanding Bookshelf
This forthcoming series seeks to redefine function and typology of furniture, obscuring the clarity of the object and relationship it has with a person and a space of a room. This display shelf is an independently standing object offering a dual function—shelf/room divider. This piece is attractive on all sides allowing for a less common use and placement within the room. When placed against the wall it assures its independence and activates the wall space.
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Ania Jaworska, Freestanding Bookshelf
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This forthcoming series seeks to redefine function and typology of furniture, obscuring the clarity of the object and relationship it has with a person and a space of a room. This display shelf is an independently standing object offering a dual function—shelf/room divider. This piece is attractive on all sides allowing for a less common use and placement within the room. When placed against the wall it assures its independence and activates the wall space.
The respective units act and appear familiar, sharing common traits with well-known domestic objects as well as ambiguously recollecting visual references set in our memory.
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The respective units act and appear familiar, sharing common traits with well-known domestic objects as well as ambiguously recollecting visual references set in our memory.
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Ania Jaworska is an architect and educator. She currently is a Clinical Assistant Professor at the University of Illinois at Chicago, School of Architecture. She holds a master's degree in architecture from the Cracow University of Technology in Poland as well as the Cranbrook Academy of Art in Michigan. Her practice focuses on exploring the connection between art and architecture and her work explores bold simple forms, humor, commentary and conceptual, historic, and cultural references. Jaworska’s work has been exhibited in numerous exhibitions and institutions, including the 13th Venice Biennale (2012), Chicago Architecture Biennial (2015, 2017) as part of Grounds for Detroit, Chicago Cultural Center, Chicago Architecture Foundation, and Storefront for Art and Architecture. She recently had a solo exhibition at Chicago Works: Ania Jaworska at the Museum of Contemporary Art Chicago and SET at Volume
Gallery in Chicago. She designed a bookstore at the Graham Foundation for Advanced Studies in the Fine Arts in Chicago, which is currently on view. She is a 2017 MoMA PS1 Young Architects Program Finalist, and one of the participants of the Chicago Architecture Biennial: Make New History.
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Ania Jaworska is an architect and educator. She currently is a Clinical Assistant Professor at the University of Illinois at Chicago, School of Architecture. She holds a master's degree in architecture from the Cracow University of Technology in Poland as well as the Cranbrook Academy of Art in Michigan. Her practice focuses on exploring the connection between art and architecture and her work explores bold simple forms, humor, commentary and conceptual, historic, and cultural references. Jaworska’s work has been exhibited in numerous exhibitions and institutions, including the 13th Venice Biennale (2012), Chicago Architecture Biennial (2015, 2017) as part of Grounds for Detroit, Chicago Cultural Center, Chicago Architecture Foundation, and Storefront for Art and Architecture. She recently had a solo exhibition at Chicago Works: Ania Jaworska at the Museum of Contemporary Art Chicago and SET at Volume
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Gallery in Chicago. She designed a bookstore at the Graham Foundation for Advanced Studies in the Fine Arts in Chicago, which is currently on view. She is a 2017 MoMA PS1 Young Architects Program Finalist, and one of the participants of the Chicago Architecture Biennial: Make New History.
Kamer Frank
Kamer Frank
architecten de vylder vinck taillieu, Kamer Frank
Kamer is a series of pieces of furniture designed by architecten de vylder vinck taillieu as a tribute to an architect or artist. Kamer Frank is the latest. It seems that one time Frank Lloyd Wright admitted that the lamps in the piano room in his own house in Oak Park, Illinois were partly the result of a set of books piled up.
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architecten de vylder vinck taillieu, Kamer Frank
Kamer is a series of pieces of furniture designed by architecten de vylder vinck taillieu as a tribute to an architect or artist. Kamer Frank is the latest. It seems that one time Frank Lloyd Wright admitted that the lamps in the piano room in his own house in Oak Park, Illinois were partly the result of a set of books piled up.
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In the workshop of their favorite woodworker, Frank Ternier, one sees along the walls all kinds of what look like leftover plates a little randomly stocked against those walls. A daybed for Frank. Which Frank?
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In the workshop of their favorite woodworker, Frank Ternier, one sees along the walls all kinds of what look like leftover plates a little randomly stocked against those walls. A daybed for Frank. Which Frank?
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architecten de vylder vinck taillieu—a dvvt—is the new name under which Jan De Vylder, Inge Vinck and Jo Taillieu will further share their mutual appreciation, interest and previous realized work. Already long before each one of them, sometimes in collaboration with each other, steadily developed and realized a certain variety of projects. Since 2009 it is clear that a dvvt has given wings to the united view on what architecture can possibly stand for. architecten de vylder vinck taillieu wants to be complete. To embrace not only design but also the making; that is the point of departure for a dvvt. Only through understanding how something is created, design is able to play out its critical attitude. Within the landscape of present-day expectations, a dvvt unexpectedly wants to give these expectations an appropriate turn through which not only what is expected is granted, but surprisingly more can be found. A critical attitude; not as just a gesture but as a living instrument to arrive further than ever expected. The social responsibility that is based within architecture should not be underestimated.
But only if the architect audits this responsibility critically, this social task has the possibility to surpass a mere filling-in of expectations and obtains the chance to its cultural dimension. Here, the architect has a crucial responsibility. a dvvt wants to recognize this. The skill of the architect—the craft; the knowledge and the critical attitude—is crucial with this. This skill ensures that present-day expectations like cultural sustainability have the possibility to stand for more than what they stand for today. The métier as the key to the future.
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architecten de vylder vinck taillieu—a dvvt—is the new name under which Jan De Vylder, Inge Vinck and Jo Taillieu will further share their mutual appreciation, interest and previous realized work. Already long before each one of them, sometimes in collaboration with each other, steadily developed and realized a certain variety of projects. Since 2009 it is clear that a dvvt has given wings to the united view on what architecture can possibly stand for. architecten de vylder vinck taillieu wants to be complete. To embrace not only design but also the making; that is the point of departure for a dvvt. Only through understanding how something is created, design is able to play out its critical attitude. Within the landscape of present-day expectations, a dvvt unexpectedly wants to give these expectations an appropriate turn through which not only what is expected is granted, but surprisingly more can be found. A critical attitude; not as just a gesture but as a living instrument to arrive further than ever expected. The social responsibility that is based within architecture should not be underestimated.
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But only if the architect audits this responsibility critically, this social task has the possibility to surpass a mere filling-in of expectations and obtains the chance to its cultural dimension. Here, the architect has a crucial responsibility. a dvvt wants to recognize this. The skill of the architect—the craft; the knowledge and the critical attitude—is crucial with this. This skill ensures that present-day expectations like cultural sustainability have the possibility to stand for more than what they stand for today. The métier as the key to the future.
Light Rocker & Heavy Rocker Light Rocker & Heavy Rocker
Leong Leong, Light Rocker & Heavy Rocker
The Rocker imagines a domestic space composed of ritualistic objects imbued with non-technological time, a sanctuary for high-performance mysticism. Part meditation seat, part yoga ball chair, part coffee table, the Rocker is an essential tool for peak experience living. The curved shape encourages an active sitting posture for a single person or a dynamic balancing act for two. Flipped upside down, the Rocker
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Leong Leong, Light Rocker & Heavy Rocker
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The Rocker imagines a domestic space composed of ritualistic objects imbued with non-technological time, a sanctuary for high-performance mysticism. Part meditation seat, part yoga ball chair, part coffee table, the Rocker is an essential tool for peak experience living. The curved shape encourages an active sitting posture for a single person or a dynamic balancing act for two. Flipped upside down, the Rocker
doubles as a surface for stretching the body. On its side it becomes a table, its only stable position.
the form. Together, the seat and the mat produce a contrasting sensorial experience, rigid yet soft, grounded yet dynamic.
Two editions of the Rocker have been created—one for a domestic interior use milled from a single boulder of Gneissic stone and the other for outdoor use formed out of perforated stainless steel sheet. Accompanying each seat is a textured, rubber mat which adds a tactile layer to
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doubles as a surface for stretching the body. On its side it becomes a table, its only stable position. Two editions of the Rocker have been created—one for a domestic interior use milled from a single boulder of Gneissic stone and the other for outdoor use formed out of perforated stainless steel sheet. Accompanying each seat is a textured, rubber mat which adds a tactile layer to
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the form. Together, the seat and the mat produce a contrasting sensorial experience, rigid yet soft, grounded yet dynamic.
Leong Leong is an award-winning architecture and design firm based in New York that focuses on projects that envision new relationships between culture and commerce, public and private, and the domestic and monumental. The studio’s interests are not defined by a particular project type, but by the potential to create environments and objects with cultural resonance. The studio's design and research process is driven by a curiosity for new organization typologies and aesthetic experiences that offer new ways of living, working, and interacting with one another. Frequently expanding the role of the architect, Leong Leong’s approach spans between strategic thinking and material experimentation, from the city to the artifact. Leong Leong’s work includes a wide range of projects and scales including buildings, interiors, exhibitions, and furniture, with completed projects in New York, Los Angeles, Tokyo, Hong Kong, Seoul, Venice, and Napa Valley. Most recently,
Leong Leong won The Architectural League’s Emerging Voices Award of 2017. Notable projects include the design for the Los Angeles LGBT Center’s Anita May Rosenstein Campus in Hollywood, California, the Center for Community and Entrepreneurship in New York, and the design of the U.S. Pavilion for the 14th Venice Architecture Biennale (2014). Other current projects include the Eaton Workshop, a ground-up, co-working and hospitality project in San Francisco, and a private residence in Los Angeles. A forthcoming work will be exhibited at the Guggenheim Bilbao in the winter of 2018.
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Leong Leong is an award-winning architecture and design firm based in New York that focuses on projects that envision new relationships between culture and commerce, public and private, and the domestic and monumental. The studio’s interests are not defined by a particular project type, but by the potential to create environments and objects with cultural resonance. The studio's design and research process is driven by a curiosity for new organization typologies and aesthetic experiences that offer new ways of living, working, and interacting with one another. Frequently expanding the role of the architect, Leong Leong’s approach spans between strategic thinking and material experimentation, from the city to the artifact. Leong Leong’s work includes a wide range of projects and scales including buildings, interiors, exhibitions, and furniture, with completed projects in New York, Los Angeles, Tokyo, Hong Kong, Seoul, Venice, and Napa Valley. Most recently,
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Leong Leong won The Architectural League’s Emerging Voices Award of 2017. Notable projects include the design for the Los Angeles LGBT Center’s Anita May Rosenstein Campus in Hollywood, California, the Center for Community and Entrepreneurship in New York, and the design of the U.S. Pavilion for the 14th Venice Architecture Biennale (2014). Other current projects include the Eaton Workshop, a ground-up, co-working and hospitality project in San Francisco, and a private residence in Los Angeles. A forthcoming work will be exhibited at the Guggenheim Bilbao in the winter of 2018.
Bathing, Again
Bathing, Again
MILLIØNS, Bathing, Again
The well-documented history of pre-modern bathing testifies to its radical transformation during just the past 150 years. If bathing once meant an extended period of socializing, relaxation, enjoyment and semi-collective self-care, today it has been reduced to an isolated act of hygienic efficiency. MILLIØNS’ contribution to 'No-Thing' reintroduces the lost social dimensions of bathing through a set of shared elements: a freestanding
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MILLIØNS, Bathing, Again
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The well-documented history of pre-modern bathing testifies to its radical transformation during just the past 150 years. If bathing once meant an extended period of socializing, relaxation, enjoyment and semi-collective self-care, today it has been reduced to an isolated act of hygienic efficiency. MILLIØNS’ contribution to 'No-Thing' reintroduces the lost social dimensions of bathing through a set of shared elements: a freestanding
communal washbasin; a bathtubin-the-round, with expansive flat surfaces to facilitate eating, drinking, and entertaining; and a series of large, thermallyradiant stone slabs for lounging and massage. Together the furniture set reimagines contemporary bathing as a set of extended daily rituals organized around a new, communal domestic landscape.Â
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communal washbasin; a bathtubin-the-round, with expansive flat surfaces to facilitate eating, drinking, and entertaining; and a series of large, thermallyradiant stone slabs for lounging and massage. Together the furniture set reimagines contemporary bathing as a set of extended daily rituals organized around a new, communal domestic landscape.Â
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MILLIØNS is a Los Angeles-based architectural practice founded by Zeina Koreitem and John May. MILLIØNS conceives of architecture as a speculative medium for exploring the central categories of contemporary life: technology, politics, energy, media, and information. MILLIØNS’ work has been featured in numerous solo and group exhibitions, including shows at the Storefront for Art and Architecture, Jai & Jai Gallery, The Architecture + Design Museum of Los Angeles, the Museum of the City of New York, the Keller Architecture Gallery at MIT, and the Harvard Graduate School of Design, among others. Their essays and interviews are widely published, including a recent catalog of work on experimental collective living, entitled New Massings for New Masses (MIT SA+P Press). Koreitem is a Design Critic in Architecture at the Harvard University Graduate School of Design and visiting faculty at the Southern California Institute of Architecture. May is
Assistant Professor of Architecture and Director of the Master in Design Studies program at the Harvard Graduate School of Design. Koreitem and May live in Topanga, California. Design Principals: Zeina Koreitem & John May (MILLIØNS) Team: Iain Gordon, Hyojin Kwon & Peter Osborne
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MILLIØNS is a Los Angeles-based architectural practice founded by Zeina Koreitem and John May. MILLIØNS conceives of architecture as a speculative medium for exploring the central categories of contemporary life: technology, politics, energy, media, and information. MILLIØNS’ work has been featured in numerous solo and group exhibitions, including shows at the Storefront for Art and Architecture, Jai & Jai Gallery, The Architecture + Design Museum of Los Angeles, the Museum of the City of New York, the Keller Architecture Gallery at MIT, and the Harvard Graduate School of Design, among others. Their essays and interviews are widely published, including a recent catalog of work on experimental collective living, entitled New Massings for New Masses (MIT SA+P Press). Koreitem is a Design Critic in Architecture at the Harvard University Graduate School of Design and visiting faculty at the Southern California Institute of Architecture. May is
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Assistant Professor of Architecture and Director of the Master in Design Studies program at the Harvard Graduate School of Design. Koreitem and May live in Topanga, California. Design Principals: Zeina Koreitem & John May (MILLIØNS) Team: Iain Gordon, Hyojin Kwon & Peter Osborne
Model Furniture No. 5 (Table) Model Furniture No. 5 (Table)
MOS, Model Furniture No. 5 ( Table)
An obsession with the stuff that occupies the background of architectural representation, the things we fill spaces with, led MOS to look at furniture made for architectural models. Think: close-ups of generic, nearly notational chairs; fields of wobbly stools with legs so slightly out of alignment; the most mundane shelving systems imaginable; abstracted blocks turned modular benches or cabinets or who-knows-whats;
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MOS, Model Furniture No. 5 ( Table)
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An obsession with the stuff that occupies the background of architectural representation, the things we fill spaces with, led MOS to look at furniture made for architectural models. Think: close-ups of generic, nearly notational chairs; fields of wobbly stools with legs so slightly out of alignment; the most mundane shelving systems imaginable; abstracted blocks turned modular benches or cabinets or who-knows-whats;
non-descript tables and displays; reproductions of reproductions of reproductions of mid-century modern chairs; indescribable things distorted by humidity; clumsy, ergonomic 2-D extrusions; tables with an impossible materiality; seats proportioned a little too high or low; an economy of pieces cut and pasted together; replicas of some other design; etc … These miniature objects, made by armies of interns and careful
craftspersons alike, populate models by architecture offices large and small. They’re a sort of low-resolution representational default, a reduction to the bare qualities of an object— handmade ready-mades. Works in the “Model Furniture” series are translations of these translations: from a table to a model to a table again, something that oscillates between /reality/ reference/reality/. They are both something and not.
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non-descript tables and displays; reproductions of reproductions of reproductions of mid-century modern chairs; indescribable things distorted by humidity; clumsy, ergonomic 2-D extrusions; tables with an impossible materiality; seats proportioned a little too high or low; an economy of pieces cut and pasted together; replicas of some other design; etc … These miniature objects, made by armies of interns and careful
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craftspersons alike, populate models by architecture offices large and small. They’re a sort of low-resolution representational default, a reduction to the bare qualities of an object— handmade ready-mades. Works in the “Model Furniture” series are translations of these translations: from a table to a model to a table again, something that oscillates between /reality/ reference/reality/. They are both something and not.
MOS is a New York–based architecture studio, founded by principals Michael Meredith and Hilary Sample in 2007. An internationally recognized architecture practice, MOS was the recipient of the 2015 Cooper Hewitt, Smithsonian Design Museum National Design Award in Architecture, the 2010 American Academy of Arts and Letters Architecture Award, and the 2008 Architectural League of New York Emerging Voices Award. Individual works have similarly received numerous awards and distinctions, most notably: the 2015 Global Holcim Award for sustainable construction (Asia-Pacific Region), for Community Center No. 3 (Lali Gurans Orphanage); the cover of Abitare and an AIA NY State Award of Excellence, for School No. 1 (Krabbesholm Højskole); the 2014 accession of both the firm’s modular, offgrid House No. 5 (Museum of Outdoor Arts Element House) into The Museum of Modern Art, Architecture and Design Collection; the acquisition of House No. 3 (Lot No. 6/Ordos) into
the permanent collection of The Art Institute of Chicago; and the selection of Pavilion No. 4 ( Afterparty) for the 2009 MoMA PS1 Young Architects Program. Recent work includes: Store No. 2 (Chamber) in Chelsea, NYC; House No. 10, currently under-construction; School No. 2, a competition proposal for the Institute for Advanced Study Commons Building; and Housing No. 4 (Dequindre Cut, Detroit). Recent and forthcoming publications, both products of and surveys on MOS's work, include Everything All at Once: The Software, Film, and Architecture of MOS (Princeton Architectural Press, 2013); MOS: Selected Works (Princeton Architectural Press, 2016); El Croquis No. 184 (2016); A Situation Constructed From Loose and Overlapping Social and Architectural Aggregates (AADR, 2016); and An Unfinished Encyclopedia of Scale Figures Without Architecture (MIT Press, forthcoming).
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MOS is a New York–based architecture studio, founded by principals Michael Meredith and Hilary Sample in 2007. An internationally recognized architecture practice, MOS was the recipient of the 2015 Cooper Hewitt, Smithsonian Design Museum National Design Award in Architecture, the 2010 American Academy of Arts and Letters Architecture Award, and the 2008 Architectural League of New York Emerging Voices Award. Individual works have similarly received numerous awards and distinctions, most notably: the 2015 Global Holcim Award for sustainable construction (Asia-Pacific Region), for Community Center No. 3 (Lali Gurans Orphanage); the cover of Abitare and an AIA NY State Award of Excellence, for School No. 1 (Krabbesholm Højskole); the 2014 accession of both the firm’s modular, offgrid House No. 5 (Museum of Outdoor Arts Element House) into The Museum of Modern Art, Architecture and Design Collection; the acquisition of House No. 3 (Lot No. 6/Ordos) into
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the permanent collection of The Art Institute of Chicago; and the selection of Pavilion No. 4 ( Afterparty) for the 2009 MoMA PS1 Young Architects Program. Recent work includes: Store No. 2 (Chamber) in Chelsea, NYC; House No. 10, currently under-construction; School No. 2, a competition proposal for the Institute for Advanced Study Commons Building; and Housing No. 4 (Dequindre Cut, Detroit). Recent and forthcoming publications, both products of and surveys on MOS's work, include Everything All at Once: The Software, Film, and Architecture of MOS (Princeton Architectural Press, 2013); MOS: Selected Works (Princeton Architectural Press, 2016); El Croquis No. 184 (2016); A Situation Constructed From Loose and Overlapping Social and Architectural Aggregates (AADR, 2016); and An Unfinished Encyclopedia of Scale Figures Without Architecture (MIT Press, forthcoming).
Young Americans
Young Americans
Norman Kelley, Young Americans
Young Americans is a two-piece collection of impersonations of two indicative styles (Chippendale, and Federal) of early American furniture. The pair reflects Norman Kelley's indulgence for anachronism over invention, and craftiness over craft. More exactly, each piece of furniture aspires to be something other. A tilt-top table is fixed to a corner to reflect back like a mirror, and a roll-top desk withdraws into itself to reveal an armchair.
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Norman Kelley, Young Americans
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Young Americans is a two-piece collection of impersonations of two indicative styles (Chippendale, and Federal) of early American furniture. The pair reflects Norman Kelley's indulgence for anachronism over invention, and craftiness over craft. More exactly, each piece of furniture aspires to be something other. A tilt-top table is fixed to a corner to reflect back like a mirror, and a roll-top desk withdraws into itself to reveal an armchair.
Like a child’s easily detectable hiding spot, the works are not wholly successful in concealing their true type. In this sense, the collection misbehaves by attempting to behave—fitting in is not easy. The furniture is at once idiosyncratic and undistinguished. It is only after a simple mechanical task or a closer look that the set presents itself honestly and invites the observer to take a seat or freshen up.
Architecturally, the proposal addresses the larger issue of how to display and occupy furniture within a room, domestic or otherwise. During the 18th century, to which our proposal is heavily indebted, the developed surface interior was used by architects looking to differentiate rooms from other rooms within the same home. Consequently, the wall earned prominence as an organizing device for both furnishings and
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Like a child’s easily detectable hiding spot, the works are not wholly successful in concealing their true type. In this sense, the collection misbehaves by attempting to behave—fitting in is not easy. The furniture is at once idiosyncratic and undistinguished. It is only after a simple mechanical task or a closer look that the set presents itself honestly and invites the observer to take a seat or freshen up.
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Architecturally, the proposal addresses the larger issue of how to display and occupy furniture within a room, domestic or otherwise. During the 18th century, to which our proposal is heavily indebted, the developed surface interior was used by architects looking to differentiate rooms from other rooms within the same home. Consequently, the wall earned prominence as an organizing device for both furnishings and
other finishing treatments. The origin of each furniture piece explored in their project ties them to this history— of interiors that attracted objects to walls for reasons that were more than just functional and social. The result, like the intent, is double-sided.
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other finishing treatments. The origin of each furniture piece explored in their project ties them to this history— of interiors that attracted objects to walls for reasons that were more than just functional and social. The result, like the intent, is double-sided.
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Carrie Norman and Thomas Kelley founded the New York and Chicago-based design collaborative, Norman Kelley, in 2012. Over the past five years, Norman Kelley’s work has sought to explore architecture and design’s limits between two and three dimensions. Results have varied in scale and medium, from object design to interiors. Along this spectrum, their work re-examines architecture and design’s relationship to vision, prompting its observers to see nuance in the familiar. The practice has contributed work to the 14th Venice Architecture Biennial (2014) and the first and second Chicago Architecture Biennials (2015, 2017). The practice was a recipient of the Architecture League of New York Young Architect’s Prize (2014). Norman received her M.Arch from Princeton University and her BS.Arch from the University of Virginia. She is a licensed architect in the state of New York, and currently a faculty member at Barnard and Columbia College,
and Columbia’s Graduate School of Architecture, Planning and Preservation. Kelley received his M.Arch from Princeton University and his BS. Arch from the University of Virginia. Kelley is the recipient of the Peter Reyner Banham Fellowship from SUNY Buffalo and the Rome Prize in Architecture from the American Academy in Rome. He is an assistant professor at the University of Illinois at Chicago’s School of Architecture.
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Carrie Norman and Thomas Kelley founded the New York and Chicago-based design collaborative, Norman Kelley, in 2012. Over the past five years, Norman Kelley’s work has sought to explore architecture and design’s limits between two and three dimensions. Results have varied in scale and medium, from object design to interiors. Along this spectrum, their work re-examines architecture and design’s relationship to vision, prompting its observers to see nuance in the familiar. The practice has contributed work to the 14th Venice Architecture Biennial (2014) and the first and second Chicago Architecture Biennials (2015, 2017). The practice was a recipient of the Architecture League of New York Young Architect’s Prize (2014). Norman received her M.Arch from Princeton University and her BS.Arch from the University of Virginia. She is a licensed architect in the state of New York, and currently a faculty member at Barnard and Columbia College,
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and Columbia’s Graduate School of Architecture, Planning and Preservation. Kelley received his M.Arch from Princeton University and his BS. Arch from the University of Virginia. Kelley is the recipient of the Peter Reyner Banham Fellowship from SUNY Buffalo and the Rome Prize in Architecture from the American Academy in Rome. He is an assistant professor at the University of Illinois at Chicago’s School of Architecture.
Guillotine Table
Guillotine Table
Pezo von Ellrichshausen, Guillotine Table
From the very first moment and over time, strong thoughts and feelings have been growing between A and B. From a mere pair formed by the addition of one plus one, they became a literal embodiment of the accepted dialectic relationship in which A depends on B as much as B depends on A. Both A and B know their unique but fragile condition. Living and working together, they can not avoid being aware of the hectic
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Pezo von Ellrichshausen, Guillotine Table
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From the very first moment and over time, strong thoughts and feelings have been growing between A and B. From a mere pair formed by the addition of one plus one, they became a literal embodiment of the accepted dialectic relationship in which A depends on B as much as B depends on A. Both A and B know their unique but fragile condition. Living and working together, they can not avoid being aware of the hectic
overexposures, the sumptuous masks and the endless distractions offered by the world in which they happen to reside. For the first time in history, they agree with their distant acquaintances, there is not only no distinction of gender but absolutely no hierarchy in the affairs of a contemporary couple. Nowadays, the master with his apprentice, as much as the political businessman with his servile wife, seem no more than
obsolete figures. However, there is a degree of tragedy in the reciprocal dependency between A and B since they can no longer be next to each other to enjoy a sunset or watch a movie. They need to be face to face, close enough so as to be able to see their mutual facial gestures but far enough so as to avoid any physical contact. Those moments of detached proximity are the necessary control for a latent overly sweet disposition.
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overexposures, the sumptuous masks and the endless distractions offered by the world in which they happen to reside. For the first time in history, they agree with their distant acquaintances, there is not only no distinction of gender but absolutely no hierarchy in the affairs of a contemporary couple. Nowadays, the master with his apprentice, as much as the political businessman with his servile wife, seem no more than
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obsolete figures. However, there is a degree of tragedy in the reciprocal dependency between A and B since they can no longer be next to each other to enjoy a sunset or watch a movie. They need to be face to face, close enough so as to be able to see their mutual facial gestures but far enough so as to avoid any physical contact. Those moments of detached proximity are the necessary control for a latent overly sweet disposition.
A and B are voluntarily secluded within their own imaginary world. From one side, A writes letters from a heavy wooden desk. Across, B answers with drawings from another heavy wooden desk. It might be the lateral blinders of each table, it might also be their endless reflections, or even the severe symmetry, but they have not noticed yet that there is no separation from one table to the other. On a short note, B told
A that one day they will look right in front of them and no longer see the other, only their own faces floating against the landscape they have left behind. Promptly as usual, A replied that they will see through anyways, that there is no real speculation on the mirrors but a sheer deflection of depth.
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A and B are voluntarily secluded within their own imaginary world. From one side, A writes letters from a heavy wooden desk. Across, B answers with drawings from another heavy wooden desk. It might be the lateral blinders of each table, it might also be their endless reflections, or even the severe symmetry, but they have not noticed yet that there is no separation from one table to the other. On a short note, B told
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A that one day they will look right in front of them and no longer see the other, only their own faces floating against the landscape they have left behind. Promptly as usual, A replied that they will see through anyways, that there is no real speculation on the mirrors but a sheer deflection of depth.
Pezo von Ellrichshausen is an art and architecture studio founded in 2002 by Mauricio Pezo and Sofia von Ellrichshausen. They live and work in the southern Chilean city of Concepcion. Their work has been exhibited at the 15th Venice Architecture Biennale (2016), at the Royal Academy of Arts in London (2014), and as part of the permanent collection at the MoMA in New York. In 2010 they were selected as the curators for the Chilean Pavilion at the 12th Venice Biennale. They have taught at the Illinois Institute of Technology in Chicago, the Universidad Catolica de Chile in Santiago, the University of Texas in Austin and Cornell University. Among other venues, they have lectured at the Tate Modern, the Victoria & Albert Museum, the Metropolitan Museum of Art, the Alvar Aalto Symposium and the Royal Institute of British Architects. Their work has been distinguished with the Mies Crown Hall Americas Emerge Prize by the IIT, the Rice Design Alliance Prize, the Iberoamerican
Architecture Biennial Award and the Chilean Architecture Biennial Award. The work of the studio has been widely published and edited in monographic issues of AV in Madrid, A+U in Tokyo, 2G in Barcelona and in the essay book Spatial Structure. Mauricio Pezo completed a Master in Architecture at the Universidad Catolica and a degree in Architecture at the Universidad del Bio-Bio. He has been awarded the Young Architect Prize by the Chilean Architects Association and the Municipal Art Prize by the Concepcion City Hall. Sofia von Ellrichshausen holds a degree in Architecture from the Universidad de Buenos Aires where she was distinguished with the FADU-UBA Honors Diploma.
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Pezo von Ellrichshausen is an art and architecture studio founded in 2002 by Mauricio Pezo and Sofia von Ellrichshausen. They live and work in the southern Chilean city of Concepcion. Their work has been exhibited at the 15th Venice Architecture Biennale (2016), at the Royal Academy of Arts in London (2014), and as part of the permanent collection at the MoMA in New York. In 2010 they were selected as the curators for the Chilean Pavilion at the 12th Venice Biennale. They have taught at the Illinois Institute of Technology in Chicago, the Universidad Catolica de Chile in Santiago, the University of Texas in Austin and Cornell University. Among other venues, they have lectured at the Tate Modern, the Victoria & Albert Museum, the Metropolitan Museum of Art, the Alvar Aalto Symposium and the Royal Institute of British Architects. Their work has been distinguished with the Mies Crown Hall Americas Emerge Prize by the IIT, the Rice Design Alliance Prize, the Iberoamerican
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Architecture Biennial Award and the Chilean Architecture Biennial Award. The work of the studio has been widely published and edited in monographic issues of AV in Madrid, A+U in Tokyo, 2G in Barcelona and in the essay book Spatial Structure. Mauricio Pezo completed a Master in Architecture at the Universidad Catolica and a degree in Architecture at the Universidad del Bio-Bio. He has been awarded the Young Architect Prize by the Chilean Architects Association and the Municipal Art Prize by the Concepcion City Hall. Sofia von Ellrichshausen holds a degree in Architecture from the Universidad de Buenos Aires where she was distinguished with the FADU-UBA Honors Diploma.
frame 01
frame 01
SO – IL, frame 01
frame 01 is a lounge chair for one, two or three people to gather. The form comes from draping a (chainmaille) mesh over a bent tube frame, and thoughtfully placing the chainmaille to stretch and compress the space between the frame and the back. The chair explores the contrast that emerges between the hardness of the material with its soft form. As each ring is handcrafted and manually weaved into a mesh, the chair
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SO – IL, frame 01
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frame 01 is a lounge chair for one, two or three people to gather. The form comes from draping a (chainmaille) mesh over a bent tube frame, and thoughtfully placing the chainmaille to stretch and compress the space between the frame and the back. The chair explores the contrast that emerges between the hardness of the material with its soft form. As each ring is handcrafted and manually weaved into a mesh, the chair
serves as an appreciation for craftsmanship and artistry, building on a legacy of the bent frame chair. Designed to be shared, the queen-bed-size chair can comfortably suit two people. frame 01 can exist in an interior lounge, outdoor garden or public space thanks to the weather resistance of the chainmaille.
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serves as an appreciation for craftsmanship and artistry, building on a legacy of the bent frame chair. Designed to be shared, the queen-bed-size chair can comfortably suit two people. frame 01 can exist in an interior lounge, outdoor garden or public space thanks to the weather resistance of the chainmaille.
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SO – IL or Solid Objectives – Idenburg Liu is an architecture firm in Brooklyn, New York City, which was founded in 2008 by Florian Idenburg and Jing Liu. Liu and Idenburg first met in 2000 at SANAA in Japan while she was an intern and he was a senior associate working with Pritzker prize-winners Kazuyo Sejima and Ryue Nishizawa. In 2002, they met again in New York when Idenburg was working on the New Museum project in Lower Manhattan. In 2010, the firm won the MoMA PS1 Young Architects Program with their playful, interactive installation Pole Dance. They went on to design a residence for designer Ivan Chermayeff in upstate New York, a wedding chapel in Nanjing, China, and the AIA New York award-winning Kukje Gallery in Seoul. They are well known for their inventive use of materials, exemplified in their office renovation for video production company Logan. This project divides the space into two identical, symmetrical rectilinear spaces. Each long room has a 65 foot continuous custom work table. Accommodating working groups of any size, the shared desks consolidate almost every operation of the company
in one place: design, production, and meetings. Seamless, floor-to-ceiling translucent fabric walls separate the central work areas, visually breaking down the scale of the space, while maintaining a shared environment, and allowing natural light to penetrate. In 2012 and 2013, SO – IL was commissioned to design the inaugural presence for the Frieze fair in New York City. Working with a prefabricated rental tent structure forced them to be inventive with a limited vocabulary. Pie-shaped tent section wedges bend the otherwise straight tent into a meandering, supple, shape. The winding form animates it on the unusual waterfront site, as well as establishing the temporary structure as an icon along the water. In Spring 2013, SO – IL won a competition to design the new Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. Plans for the museum include a 50,000 square foot permeable roof or “Grand Canopy” that blurs building edges, and creates a sensory landscape of a variety of activities and scales. The building is expected to be completed in 2016 and achieve LEED Platinum.
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SO – IL or Solid Objectives – Idenburg Liu is an architecture firm in Brooklyn, New York City, which was founded in 2008 by Florian Idenburg and Jing Liu. Liu and Idenburg first met in 2000 at SANAA in Japan while she was an intern and he was a senior associate working with Pritzker prize-winners Kazuyo Sejima and Ryue Nishizawa. In 2002, they met again in New York when Idenburg was working on the New Museum project in Lower Manhattan. In 2010, the firm won the MoMA PS1 Young Architects Program with their playful, interactive installation Pole Dance. They went on to design a residence for designer Ivan Chermayeff in upstate New York, a wedding chapel in Nanjing, China, and the AIA New York award-winning Kukje Gallery in Seoul. They are well known for their inventive use of materials, exemplified in their office renovation for video production company Logan. This project divides the space into two identical, symmetrical rectilinear spaces. Each long room has a 65 foot continuous custom work table. Accommodating working groups of any size, the shared desks consolidate almost every operation of the company
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in one place: design, production, and meetings. Seamless, floor-to-ceiling translucent fabric walls separate the central work areas, visually breaking down the scale of the space, while maintaining a shared environment, and allowing natural light to penetrate. In 2012 and 2013, SO – IL was commissioned to design the inaugural presence for the Frieze fair in New York City. Working with a prefabricated rental tent structure forced them to be inventive with a limited vocabulary. Pie-shaped tent section wedges bend the otherwise straight tent into a meandering, supple, shape. The winding form animates it on the unusual waterfront site, as well as establishing the temporary structure as an icon along the water. In Spring 2013, SO – IL won a competition to design the new Jan Shrem and Maria Manetti Shrem Museum of Art at the University of California, Davis. Plans for the museum include a 50,000 square foot permeable roof or “Grand Canopy” that blurs building edges, and creates a sensory landscape of a variety of activities and scales. The building is expected to be completed in 2016 and achieve LEED Platinum.
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Andy and Dave Wanna go there! (Partition), 2018 Aluminum, printed vinyl 48 x 36 inches 122 x 91.5 cm Unique pp. 13–20
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Andy and Dave Wanna go there! (Partition), 2018 Aluminum, printed vinyl 48 x 36 inches 122 x 91.5 cm Unique pp. 13–20
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Andy and Dave Where is this? (Bench), 2018 Aluminum, upholstered cushions, vinyl fabric 16 x 36 x 12 inches 40.5 x 91.5 x 30.5 cm Unique pp. 13–20
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Andy and Dave Where is this? (Bench), 2018 Aluminum, upholstered cushions, vinyl fabric 16 x 36 x 12 inches 40.5 x 91.5 x 30.5 cm Unique pp. 13–20
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Ania Jaworska Freestanding Bookshelf, 2017 Rift-sawn white oak, wax and oil finish 79 x 70 x 22 inches 201 x 178 x 56 cm Edition of 3, 2AP pp. 21–25
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Ania Jaworska Freestanding Bookshelf, 2017 Rift-sawn white oak, wax and oil finish 79 x 70 x 22 inches 201 x 178 x 56 cm Edition of 3, 2AP pp. 21–25
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architecten de vylder vinck taillieu Kamer Frank, 2017 Plywood, chipboard, color-coated MDF, DOKA, phenolic plywood Daybed 1: 48 x 55 x 55.5 inches 122 x 140 x 141 cm Daybed 2: 48 x 63 x 58.5 inches 122 x 160 x 149 cm Edition of 3, 3AP pp. 27–32
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architecten de vylder vinck taillieu Kamer Frank, 2017 Plywood, chipboard, color-coated MDF, DOKA, phenolic plywood Daybed 1: 48 x 55 x 55.5 inches 122 x 140 x 141 cm Daybed 2: 48 x 63 x 58.5 inches 122 x 160 x 149 cm Edition of 3, 3AP pp. 27–32
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Leong Leong Light Rocker, 2018 Perforated Stainless Steel 18 x 42 x 18 inches 46 x 107 x 46 cm Heavy Rocker, 2018 Gneiss Stone 18 x 42 x 18 inches 46 x 107 x 46 cm Edition of 3, 2AP pp. 33–40
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Leong Leong Light Rocker, 2018 Perforated Stainless Steel 18 x 42 x 18 inches 46 x 107 x 46 cm Heavy Rocker, 2018 Gneiss Stone 18 x 42 x 18 inches 46 x 107 x 46 cm Edition of 3, 2AP pp. 33–40
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MILLIØNS Bathing, Again, 2017 Sink (3D silica sand print and brushed brass) 36 x 30 inches (dia.) 91.5 x 76 cm (dia.) Floor tiles (fiberglass reinforced white concrete) 6 x 84 x 14.5 inches 15 x 213.5 x 37 cm Edition of 3, 2AP pp. 41–46
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MILLIØNS Bathing, Again, 2017 Sink (3D silica sand print and brushed brass) 36 x 30 inches (dia.) 91.5 x 76 cm (dia.) Floor tiles (fiberglass reinforced white concrete) 6 x 84 x 14.5 inches 15 x 213.5 x 37 cm Edition of 3, 2AP pp. 41–46
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MOS Model Furniture No. 5 ( Table), 2017 Powder-coated aluminum 28.75 x 90.5 x 42 inches 73 x 230 x 107 cm Edition of 5 pp. 47–52
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MOS Model Furniture No. 5 ( Table), 2017 Powder-coated aluminum 28.75 x 90.5 x 42 inches 73 x 230 x 107 cm Edition of 5 pp. 47–52
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Norman Kelley Young Americans, 2018 Fixed tilt-top mirror table Mahogany 75 x 24.25 x 30 inches 190.5 x 62 x 76 cm Edition of 3, 2AP pp. 53–59
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Norman Kelley Young Americans, 2018 Fixed tilt-top mirror table Mahogany 75 x 24.25 x 30 inches 190.5 x 62 x 76 cm Edition of 3, 2AP pp. 53–59
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Norman Kelley Young Americans, 2018 Roll-top armchair Walnut wood, upholstered in linen tweed 39.25 x 22 x 21 inches 100 x 56 x 53 cm Edition of 3, 2AP pp. 53–59
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Norman Kelley Young Americans, 2018 Roll-top armchair Walnut wood, upholstered in linen tweed 39.25 x 22 x 21 inches 100 x 56 x 53 cm Edition of 3, 2AP pp. 53–59
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Pezo von Ellrichshausen Guillotine Table, 2017 Oak, steel and mirror 56 x 82 x 82 inches 140 x 207 x 207 cm Unique pp. 61–67
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Pezo von Ellrichshausen Guillotine Table, 2017 Oak, steel and mirror 56 x 82 x 82 inches 140 x 207 x 207 cm Unique pp. 61–67
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SO – IL frame 01, 2018 Stainless steel 30 x 65 x 64 inches 76 x 165 x 162.5 cm Edition of 3, 2AP pp. 69–74
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SO – IL frame 01, 2018 Stainless steel 30 x 65 x 64 inches 76 x 165 x 162.5 cm Edition of 3, 2AP pp. 69–74
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‘No-Thing’, an exploration into aporetic architectural furniture Friedman Benda 515 W 26th St, New York, NY 10001 January 18–February 17, 2018 Catalog design by Studio Lin
‘No-Thing’, an exploration into aporetic architectural furniture Friedman Benda 515 W 26th St, New York, NY 10001 January 18–February 17, 2018 Catalog design by Studio Lin