TLmag15: Duo Report EN by Lise Coirier

I N T E R N A T I O N A L

Mathieu Lehanneur Noé Duchaufour- Lawrance Studio BrichetZiegler Campana brothers Bouroullec brothers GamFratesi

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NUMBER 15 - SEPTEMBER - OCTOBER - NOVEMBER 2012 - QUARTERLY

BUREAU DE DÉPÔT BRUXELLES X - P 402021

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DESIGN.ART.FASHION.LUXURY.RETAIL.CIT Y.ARCHITECTURE

#15 english version www.tlmagazine.com

new territories duo design sublime marble

south america australia africa

BMW 6 Series Gran Coupé

www.bmw.be

Sheer Driving Pleasure

BEAUTY. REVEALED.

Like the dramatic effect of a solar eclipse, one glimpse of the all-new BMW 6 Series Gran Coupé will create an everlasting impression. It is a vision of BMW at its purest, elegantly showing beauty and power as one. This captivating all-new BMW 6 Series Gran Coupé is the first 4-door Coupé in BMW’s history, illustrating the breathtaking combination of sports car meeting luxury saloon. For a closer look at this powerful stellar attraction, contact your local BMW dealer for a test drive or visit www.bmw.be

THE ALL-NEW BMW 6 SERIES GRAN COUPé

BMW EfficientDynamics

Less emissions. More driving pleasure. With advantageous BMW Serenity maintenance and repair contracts, your BMW is now maintained in perfect condition. Your BMW is also covered by the mobility services of BMW Mobile Care for 5 years. Environmental information (RD 19/03/04): www.bmw.be

BEAUTé FAROUCHE.

C’est un peu comme l’effet d’une éclipse, quand le soleil se cache derrière la lune. En un clin d’œil, la toute nouvelle BMW Série 6 Gran Coupé crée une sensation qu’on ne peut oublier. Une vision fugitive de la pure beauté et d’une puissance phénoménale. La nouvelle BMW Série 6 Gran Coupé est le premier coupé 4 portes de l’histoire de BMW, époustouflante combinaison d’une sportive et d’une berline de luxe. Mais elle sait aussi se montrer étonnamment sobre. Pour apprivoiser cette beauté farouche lors d’un essai, contactez votre concessionnaire BMW ou rendez-vous sur www.bmw.be

NOUVELLE BMW SéRIE 6 GRAN COUPé.

BMW EfficientDynamics

Moins d’émissions. Plus de plaisir. Avec les contrats d’entretien avantageux BMW Serenity, votre BMW est maintenue en pleine forme. Votre BMW bénéficie durant 5 ans des services de mobilité BMW Mobile Care.

5,5-7,9 L/100 KM • 146-183 G/KM CO2

Dior OnLine 02/620.00.00 - 02/620.00.98

www.dior.com

Grand Repos designed by Antonio Citterio, developed by Vitra in Switzerland Go to www.vitra.com to find Vitra retail partners in your area.

www.vitra.com/grandrepos

OVERDOSE

Carte Blanche by Bram Boo

BULO Head Office & showroom Mechelen • Blarenberglaan 6, B-2800 Mechelen • T. +32 15 28 28 28 info@bulo.be • www.bulo.com • Join us on FACEBOOK: www.facebook.com/BULO.Design Store locations: www.bulo.com

INSTORE

Colophon

Contributors

Edito

content Spotted

New Territories Explorations in diversity

New territories – Europe

Noé duchaufour-Lawrance Giving rise to the ark of paradise

Mathieu Lehanneur A remedy for design

Collectors’ sentiment Conversation about artists’ jewellery

Art & Design Love of marble

New territories – Africa Maison Revue noire/ Sindika dokolo Inside the beating heart of Africa

Nuggets from Africa New resources for contemporary design

L’Afrique, C’est Chic ! Ingrid Baars’ sculptural photography

Philo The cultural designer Writings of david Trubridge

Brazilian modern The world in a grain of wood Archi-Sud New outdoor-indoor frontiers Rio+design Boom of a creative scene

Lifestyle master Hôtel du Marc/ Veuve Clicquot

124

102

Cognac Louis xiii design or not design?

126

106

Tendence design preview

128

Mona A museum within a museum

design down under Australian stories

Architecture Australia Conceptual clarity Utopia Connecting to territory

110

Matilda The Australians have landed

112

Aesop A suite of interiors

117

Duo Design Award 2012 Expressions of co-creativity

Retail

New territories – Australia

New territories – South America

Portfolio Art & New media Pixels everywhere

118

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dISTRIBUTION / PROMOTION

Lise Coirier, lise@tlmagazine.be

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Art Direction and Graphic Design

Aurélie Bunneghem and Miles Standish

Asia

COVER

Scarabée Gaultier, 2011 Photo credits : Ingrid Baars

ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON

154

/ RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI / ISAMU NOGUCHI / ANTONIO CITTERIO / JASPER MORRISON / RONAN & ERWAN BOUROULLEC / CHARLES & RAY EAMES / VERNER PANTON / JEAN PROUVÉ / MAARTEN VAN SEVEREN / EERO SAARINEN / GERRIT T. RIETVELD / CHARLES R. MACKINTOSH / FRANK LLOYD WRIGHT / FRANCO ALBINI / E. GUNNAR ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI /

SABLON - LOUISE - STALLE

THE MODERN MASTERS.

ASPLUND / LE CORBUSIER / PIERRE JEANNERET / CHARLOTTE PERRIAND /PIERO LISSONI / PHILIPPE STARCK / GAETANO PESCE / MARIO BELLINI /

154 AVENUE LOUISE - 1050 BRUSSELS info Cassina + 32 [0]2 538 00 15 info@cassina.be www.cassina.be info Vitrapoint. Brussel + 32 [0]2 242 02 02 info@brussels.vitrapoint.be www.brussels.vitrapoint.be

Elana Castle

[AUS]

Sydney-based, Cape Town-born Elana Castle is an architect, freelance writer and photographer. She has held project architect positions in New York, London, Cape Town and Sydney, cities which have also fuelled her insatiable appetite for travel and good design. She is equally passionate about her photo blog, How I See It, where she charts her love affair with the things, places and people that interest and inspire her.

Simon Njami

[CM]

Emily Ballantyne-Brodie

[AUS]

Guto Indio da Costa

[BR]

Emily has founded two social enterprises that focus on sustainable lifestyles and design and innovation for sustainability. ‘Future Canvas’, attracted a large following of young people in Australia. ‘Urban Reforestation’ has gained international attention by focusing on greening the city and sustainable community design. She is embarking on a project-based PHD in design for sustainability at the Politecnico di Milano focusing on social entrepreneurial ventures that support sustainable urban lifestyles.

An industrial designer from Rio de Janeiro and graduate of the Art Center College of Design (Europe), Guto now coordinates the design and transportation areas at Indio da Costa A.U.D.T (Architecture, Urbanism, Design and Transportation). The office is responsible for dozens of projects, which have been internationally awarded. He also frequently writes articles for Arc Design magazine.

www.elanacastle.wordpress.com

Simon is a writer, art critic and independent curator. He was the curator of Africa Remix, the first African Pavilion at the Venice Biennale (2007), with Fernando Alvim, A Collective Diary (Tel-Aviv, 2010) and A Useful Dream, fifty years of photography in Africa (Brussels, Palais des Beaux-Arts, 2010). Njami is co-founder and editor-in-chief of Revue Noire. He was the artistic director of the Bamako Photography Biennale for ten years and his last published work was a biography of Léopold Sédar Senghor (Fayard, 2007).

Kathryn Smith

Fiona Smith du Toit

Esther de Beaucé

Giovanna Dunmall

contributors www.elanacastle.com &

[UK/AUS]

Kathryn Smith is a gallerist, writer and curator based in Brussels. Kathryn holds a degree in art history as well as having acquired a doctorate in law along the way. She has contributed to many art and design publications. Kathryn’s broad reach of knowledge across design, history, art and literature cohere in the alliance of vintage and modern in the gallery she has founded in Brussels. www.ampersandhouse.com

[AUS]

Reader, writer, listener and Architect : Fiona holds a first class honours degree from the RMIT University. Travelling extensively, Fiona has lived, worked and managed major projects in Australia, Greece, Qatar and Egypt as well as visiting commissions in China. She spent a joyful time in Cairo with arts-based NGO El Nafeza. Fiona admires designers and people who create with a conscience and who have the ability to make something enduring from a glimpse of an idea. www.elnafeza.com

[FR]

Her first passion was anthropology and documentary filmmaking, before she joined forces with Caroline Schirman and opened the eponymous contemporary art gallery Schirman & de Beaucé in 2005, which represents young artists. She started a new solo project in May 2012, Galerie MiniMasterpiece, dedicated to artists’ jewellery - these unique and prestigious portable sculptures that artists create for the women in their lives, and a few others !

[UK]

A London-based freelance journalist and editor, Giovanna writes about travel, ethical consumerism, green issues, architecture and design for publications such as Colors, Green Futures, Design Week, Sublime, Condé Nast Traveller, Ode, Plenty, Ethical Living, Australian Design Review, Frame, Mark Magazine, Indesign, Wallpaper* and The Ecologist.

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LOUISE - SABLON - STALLE

FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA

ITALIAN DESIGN, HANDCRAFTED QUALITY.

COMING SOON - OPENING LATE SEPTEMBER 2012

POLTRONA FRAU - 35 PLACE DU GRAND SABLON - 1000 BRUSSELS

FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA FRAU / POLTRONA

info + 32 [0]2 513 47 41 info@poltronafrau.be www.poltronafrau.be

After a first year of ‘benchmarking’ 99 talented designers who work in tandem, inspiring each other, the Duos Design Awards 2012 clearly places tl.mag in a context of co-creation and sharing with its readership. In giving a voice to 33 alter egos, the magazine seeks to trace the path of dialogue between disciplines. If the shared responsibility of the art direction isn’t always an easy act to balance, there are certainly infinitely more bold ideas emanating from two minds than one. Pooled and mutual creativity merits our attention. From one source of creativity to another, in search of a sustainable identity faced with the great challenges of humanity [the protection of water, renewable energy taking over from fossil energy, feeding a planet trying to cope with a population explosion…], the ‘small green planet’ is not immune to disasters. And yet, tl.mag remains optimistic and invites you on a voyage to the heart of the New Territories in response to a desire to escape, relax and come into contact with other offbeat and surprising faraway cultures that are often sources of solutions for our civilisation. The magazine will take you on a succession of cultural visits: to the Mona Contemporary Arts Centre in Tasmania ; to ‘L’Afrique, C’est Chic !’ courtesy of Ingrid Baars who reinterprets the African sculptress complete with ornaments and haute couture headdresses ; to Revue Noire, as told through the words of one of its protagonists Simon Njami, who guides us through the Sindika Dokolo collection. Design and architecture from Australia

edito

design down under and South America broadens our horizons, shining a light on countries experiencing emerging economic and artistic growth. Confronted with large vistas of red earth, a compelling visit to the land of the aborigines with the enthusiastic anthropologist Emily Ballantyne-Brodie and an encounter with New Zealander David Trubridge, a cultural designer and figurehead of ecological design – revered for his lighting made from ﬁnely cut strips of plywood hoop pine – for an article dedicated to philosophy. From one continent to another, our ‘tall ship’ in the bay of Rio sets sail with Brazilian Modern vintage designs bound for the Ampersand Gallery in Brussels with Guto Indio da Costa at the helm waxing lyrical over Rio+Design and contemporary creation. Back to the continent where we started with an exclusive encounter with talented visionaries Noé Duchaufour-Lawrance and Mathieu Lehanneur, a conversation between Esther de Beaucé and Diane Venet on art jewellery and design… Little gems from here and elsewhere, to discover right away… The lure of distant lands that are revealed only after travelling hundreds of miles over deserts and oceans. LISE COIRIER A change of scenery that will give free reign to your dreams.

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VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON /

dominique rigo

TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE

210

/ POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS

LOUISE - STALLE - SABLON

/ FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE

UNITED COLOURS OF CONTEMPORARY DESIGN.

ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA / AGAPE / ALIAS / ARCO / ARKETIPO / ARTEMIDE / B&B ITALIA / CAPPELLINI / CASALIS / CASAMILANO / CASSINA / CLASSICON / DESALTO / EMECO / ERBA MOBILI / EXTREMIS / FIAM / FLEXFORM / FLOS / FONTANA ARTE / FOSCARINI / FRITZ HANSEN / GALOTTI & RADICE / HUGUES CHEVALIER / INGO MAURER / INTERLÜBKE / KARTELL / KNOLL / LAGO / LIGNE ROSET / LIMITED EDITION / LUCEPLAN / MAXALTO / MDF ITALIA / NEMO / PAOLA LENTI / PASTOE / POLIFORM / POLTRONA FRAU / SAHCO HESSLEIN / SIMON / TOULEMONDE BOCHART / VARENNA / VITRA /

DOMINIQUE RIGO - 210 RUE DE STALLE - 1180 BRUSSELS info + 32 [0]2 649 95 94 info@dominiquerigo.be www.dominiquerigo.be

In a constantly changing environment, the advanced technologies and untouched natural spaces of our fantasies are converging. Whether technical, geographical or cultural, tl.mag explores the anthropological stigmata of our mutating world.

new territo SELECTION By FÉRIEL KAROUI ANd TL.MAG EdITORIAL TEAM

Fallen Tree

RRP : Price on demand

Benjamin Graindorge

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Galerie ymer & Malta gave designer Benjamin Graindorge his first solo exhibition ‘Morning Mist’ incorporating pieces that paid homage to nature and the poetic vision that it inspires. One of the pieces, ‘Fallen Tree,’ reflects the mutation of an uprooted tree into a refined bench, creating a bridge between wild and domesticated nature.

www.ymeretmalta.com

wild & nature

2 Cottage

RRP : Available from September

Patricia Urquiola for Kettal

‘Cottage is a charming spot, a place in which to relax in comfort, meditate, rest, or simply pass the time in the company of a good book, enjoying the air and the light. The definitive refuge in which to enjoy the outdoors,’ explains Patricia Urquiola, who has practically been adopted by Italy, and is already an expert in dolce Vita.

www.kettal.es

ries

RRP : Price on demand

Hanayuishi Takaya

Takaya came from a culinary background before experimenting with a new style of hairdressing. He aﬃxes bouquets of plants to styled hair that are commissioned for weddings, live performances or for advertising purposes. Takaya arranges and prunes his ephemeral works of art, creating a link between the look and personality of the model and nature.

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Hair Sculpture

http ://takaya.boo.jp

Where is the sun ? RRP : €695

Emmanuelle Khanh

One of the pioneers of ready-to-wear fashion in the 1970s, French designer Emmanuelle Khanh’s bold-rimmed glasses met with immediate success. In 2009, sunglasses and optical frames were reinterpreted by craftsmen in the Jura department. The meticulous finish, in acetate or natural materials, is urban elegance personified.

www.emmanuellekhanhparis.com

Ariane Module

RRP : Price on demand

Émilie Colin Garros

After obtaining a grant from VIA in 2010 and receiving the Public’s Award at design Parade in 2011, the accolades continue with a Prize for Innovative Objects at JARdINS JARdIN. The designer’s project ‘Ariane’ consists of small lattice modules to hang on the wall, that can develop over time to better define the vertical space and vegetation. Made by TF in Bonson.

http ://emiliecolingarros.com

Spring-Summer Collection Mary Katrantzou

Fashion, which usually explores a hot exotic theme each summer, inspires us this season with a refreshing hybrid underwater theme featuring ‘Lady Mermaid’ silhouettes. The reefs become fertile sources of inspiration for prints by Mary Katrantzou.

www.marykatrantzou.com

Ham Hock

RRP : $190 the set of 4 coasters

Chen Chen & Kai Tsien-Williams

The New york artists took on the roles of artisan butchers to produce this hock of ham that reveals a multitude of treasures once sliced. They combine clay, ropes and board game pieces, binding them into a mass around a central wooden bone…, which solidifies using resin and epoxy, before a protective layer of wax is added to whet our appetites.

http ://chen-williams.com

Kirikou Candleholder

RRP : €110

India Mahdavi for Bernardaud

India Mahdavi, a designer of IranianEgyptian origin, draws on the sort of rich nomadic, geographical, cultural and human experiences that only the world could oﬀer. For Bernardaud, she pays homage to Africa by conceiving this biscuit porcelain candleholder, engraved with motifs that refer to tribal scarification.

www.india-mahdavi.com, www.bernardaud.fr

Dala Outdoor Furniture

RRP : €800 to €2,600

Stephen Burks for Dedon

The New york designer has partnered with dedon to conceive a range that is true to his ethical and ecological values. ‘dala’, which means ‘to make’ in one of the dialects in Senegal, is made from woven recycled polyethylene, a material found in packaging foods and beverages. ‘dala’ comes in three eco-friendly colourways : fire, grass and sea.

www.dedon.de

new hybrids

2012 Spring-Summer Prints Basso & Brooke

Thanks to digital printing techniques Bruno Basso & Christopher Brooke and their bold, colourful and sparkling style, have taken the fashion world by storm. For their S/S 2012 collection, they take advantage of digital opportunities to transform their prints from one silhouette to the next, putting the term ‘collection’ at the heart of their thinking.

www.bassoandbrooke.com

Mermeladaestudio Price on demand

Hallingdal, the iconic fabric produced by danish brand Kvadrat, is regularly reinterpreted by designers from around the world. Mermeladaestudio – under the eye of curator Constance Rubini – found a new use for this supple fabric in the form of a tepee ; an indoor playhouse for children. Inspired by a Chinese lantern, it contains stories and memories in the making…

Dyed Persian Rugs RRP : from $500

Still & Co. for Sit and Read

The trend of Upcycling still has a bright future ahead of it thanks to bold initiatives by designers such as New york based Still & Co, who recently dyed old Persian rugs with up-todate vibrant colours. With the help of Sit and Read they extended the concept to deckchairs, blending Eastern and Western influences.

http ://hallingdal65.kvadrat.dk www.mermeladaestudio.es

http ://stillandcompany.com

Stacking Vessel

RRP : €590

Pia Wüstenberg

distributed by Galerie Bensimon in Paris, these ‘Stacking Vessels’ by young German designer Pia Wüstenberg are conceived as functional sculptures for the home. Consisting of a trio of diﬀerent materials – wood, glass and ceramics – the three modules are independent and can be used alone or in combination with other pieces.

www.piadesign.eu

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20-21 tl.mag #15 spOtted

Prototype for Hallingdal 65 by Kvadrat, made for the Milan Furniture Fair, April 2012

Italo Treno

Connecting Naples – Rome – Florence – Milan, the privately-owned Italian train company Treno is controlled by diego della Valle, the owner of Tod’s, and Luca di Montezemolo, the Chairman of Ferrari and a shareholder in Poltrona Frau. A journey that oﬀers eﬀortlessly stylish and comfortable leather seats courtesy of Poltrona Frau and gourmet breaks for the gastronomes among you.

www.italotreno.it

Aéroﬂorale II, vegetal expedition La Machine

Run by François delarozière, La Machine is a company that blends new technologies with the performing arts to produce amazing shows. The Aéroflorale is a flying contraption that transports humans and plants, hopping from city to city to exchange scientific experiences, good times, local vegetables and ideas with the inhabitants. Next step : Nantes Green Capital 2013.

www.lamachine.fr

Lemaillet Leather Goods

A newcomer in the luxury and bespoke leather goods sector, Lemaillet have a rich history and experience thanks to their founder, Vincent Solaz, who has been passionate about making handbags since 1960. After developing prototypes for the most famous luxury brands, he launched his own collections and bespoke services for his most demanding customers.

www.lemaillet.fr

Musée des Conﬂuences, Lyon, Coop Himmelb(l)au ©

photo b. adilon

Built by Austrian architects Coop Himmelb(l)au, known for their deconstructivist style of architecture, the Musée des Confluences aims to question the complexity of the world through an exploration of past, present, future, societies, religions, and the place of man in the world. Inauguration in early 2014.

www.museedesconﬂuences.fr

exceptional journeys Babylonstoren Farm, South Africa

Built at the end of the seventeenth century, this farm continues the tradition of growing crops with their vegetable garden and small wine production. They recently added a few bedrooms so that visitors can enjoy the extensive gardens and local cuisine, all this surrounded by an exceptional green oasis right on the tip of Africa.

Curiosity Object Gaëlle Gabillet & Stéphane Villard ©

photo F. ribon

Produced by galerie Cat-Berro, this object is also a window that reveals a cabinet of curiosities. The light bulb, hidden behind tinted glass, comes into its own when turned on to shine a light on objects chosen by the designers ; construction debris becomes strangely precious, begging the question what are we supposed to be looking at : the object or its content ?

www.babylonstoren.com

www.ggsv.fr

Royal entry for trunk-maker Moynat at LVMH

After an absence of almost 40 years, the House of Moynat – French trunk-makers since 1849 – have fallen into the hands of the LVMH Group. Since the mid nineteenth century, Moynat have accompanied the bourgeoisie on their travels by train or by car. This luxury baggage company has found a choice setting on the rue SaintHonoré in Paris, between Hermès and Goyard…

http ://moynat.com

MamaShelter, Marseille, Philippe Starck

After Paris, MamaShelter Marseille gets the Starck

Network design makeover. The trendy hospitality brand has adapted to the city and its port, oﬀering colourful rooms, children’s inflatable swim rings suspended above the bar, a pink table football, picnic tables, menus that privilege seafood… and it’s only 10 minutes from the train station. They plan to extend the concept internationally.

www.mamashelter.com

Lightnest Wall Lamp RRP : €647

Frederik Roijé for Freedom of Creation

Pioneers of 3d printing, Freedom of Creation has been developing successful collaborations with confirmed and emerging designers for the last ten years. Presented in Milan, the ‘Lightnest’ wall lamp was conceived by dutch designer Frederik Roijé, who introduced details that would have been otherwise impracticable in industrial production.

www.freedomofcreation.com on sale at www.buymedesign.com

Lacquered Paper Objects

RRP : Price on demand

Nendo for Nilufar ©

p h o t o m . h aya s h i

The Japanese studio has combined new production processes with traditional materials blending ‘rapid prototyping’ and paper-mâché techniques. With the aid of a 3d printer, pieces of paper have been cut, stacked and glued, then lacquered for a finish that is reminiscent of Japanese wood craftsmanship.

www.nendo.jp

Trap light RRP : Price on demand

Mike Thompson & Gionata Gatto

Liquidkristal RRP : Price on demand

Ross Lovegrove for Lasvit

Presented at this year’s Furniture Fair in Milan, the ‘Liquidkristal’ wall is a technical marvel and dream, combining the codes of natural fluidity that are dear to the Welsh designer, with the transparency of crystal manufactured by Lasvit. Taking over a year to develop, these fluid panels represent an interesting bridge between design and architecture for the Czech firm.

www.lasvit.com

Mike Thompson has accustomed us to alternative, energy eﬃcient lighting. Here, with Gionata Gatto he proposes an eco-friendly approach that uses a Murano glass blowing technique to embed photo luminescent pigments into the glass body of the lamp. The lamp emits, absorbs and re-emits light. Thus, after 30 minutes ‘charge’ of recycled light from a LEd, the light bulb can provide up to 8 hours of ambient lighting.

www.traplightsaveenergy.com

new processes

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Faceture Vases

RRP : from £180

Phil Cuttance ©

photo p. krec ji

Increasingly ingenious, designers are investing as much creativity in the production process as in the object itself. The young designer Phil Cuttance has invented a machine that, after casting coloured resin into a mould, and with the aid of a few mechanical interventions, enables him to produce perfectly geometric handmade faceted vessels.

Surface Tension Lamp RRP : Price on demand

Front for Booo

JJC04 C04 Lamp RRP : Price to be determined

Yeongkyu Yoo and Mihoya Glass for Japan Creative

Japan Creative presented a levitating lamp in Milan, the fruit of a partnership between the Korean designer yeongkyu yoo, accustomed to new technologies, and Mihoya who have been making glass for over a hundred years. The minimalist and dream-like ‘JC04’ floats over the table with the aid of a system of mutually repellent magnets. Simple laws of physics used to create a magical aesthetic.

www.japancreative.jp

When kids’games turn into adult dreams… One of the most surprising pieces seen in Milan this year was created by Swedish design outfit Front, and was exhibited at Rossana Orlandi. This lamp equipped with LEd illuminates thousands of bubbles that regenerate after they disappear. A feat that can last 50,000 hours and produce 3 million diﬀerent eﬀects.

www.booo.nl

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www.philcuttance.com

MORE THAN 100 DESIGN EVENTS IN THE CITY Delphine Vercauteren Event Manager & Art Director delphine@best.be - T +32 (0)2 349 35 95 Rue du Belvédèrstraat, 28 - 1050 Brussels

www.designseptember.be

noé duch lawrance giving rise to the ark of paradise

His protean talents extend from interior design to set design and product design to the creation of upscale furniture. Undistracted by outside influences he also casts a designer’s eye over the living space. Meet one of the most promising French designers of his generation. INTERVIEW By LISE COIRIER

‘I am emotionally drawn to a project, especially when it comes to architecture or design. My father was a sculptor and my stepfather introduced me to the connection between art and design through the work of Ron Arad.’ His higher education included a stint at the École Nationale Supérieure des Arts Appliqués et des Métiers followed by the Arts décoratifs in Paris. At 26 years of age, he designed the interior for the Sketch restaurant in London which earned him an international reputation for his urban organic style. ‘I learnt all about spatial design fairly early on in my career’, he stresses. He went on to design the Senderens restaurant in Paris and in 2005 he started collaborating with designer brands like Zanotta, followed by Ceccotti, Chevalier Éditions, Baccarat, and more recently, Bernhardt, Cinna, Pleyel, Marcel By and Forestier. Besides furniture, he also touches on the world of beauty, cosmetics and brand identity with, e.a., Paco Rabanne (‘1 Million’ a best-selling fragrance since 2009), Yves Saint Laurent (Printemps Beauty Space, 2011).

Recognition through Talents du Luxe Yet the influence of decorative arts is never far away. ‘Pure art scares me, I feel an emptiness and a need for absolute introspection, when in fact what I really want to do is meet other people and create an environment for them. The idea of taking people somewhere to a different space appeals to me… The space needs to be appropriate, and I have gradually refined my forms to maximise their full potential. I feel like a poet at heart. My mastery comes from practise and design.’ In 2010, the development of Galerie BSL initiated by Béatrice Saint-Laurent, in Paris, is a reflection of this strong approach. It won the ‘Empreinte de l’Année’ award at Talents du Luxe in Paris in the same year. Poet cum acrobat The meeting with Ceccotti was the impetus for his artistic and industrial development. ‘First of all I met with Roberto Lazzeroni and Franco Ceccotti,

aufour– aufour

www.noeduchaufourlawrance.com www.ceccotticollezioni.it 1.

Manta [desk], Ceccotti Collezioni, 2008

Borghese [sofa], La Chance, 2012

Noé duchaufour-Lawrance

Stella [side tables], Ceccotti Collezioni, 2009

Chalet La Transhumance, St-Martin-de-Belleville [French Alps], 2011 © .

photo r. bi anchi

photo s. WolFF

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photo v leroux

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Ciel de Paris, Montparnasse Tower [Paris], 2012

derby [lounge chair], Zanotta Edizioni, . 2009 ©

Sunday Morning desk, Ceccotti Collezioni, 2007

who for the best part of twenty years have been at the heart of the upmarket Tuscan furniture company. We share much of the same philosophy, especially when it comes to respecting the quality of industrial craftsmanship.’ At Ceccotti the craftsman is perceived as a poet cum acrobat, juggling with time that is necessary to produce perfection, while sharing his rich body of expertise. For his ‘Manta’ desk, Noé delivers clean, dramatic lines ; using exquisite solid woodwork that will stand the test of time. Ceccotti, whose specificity lies in their unique projects and constant search for exceptional species of wood, regularly call on his services. Since 2006 they have produced a steady flow of designs by Noé : the ‘Buonanotte Valentina’ bed, ‘Otto’ chair and ‘Omaggio’ desk to name just a few… An allusion to the Italian architect and designer Carlo Mollino !

Nature joins a quest for authenticity Audacity takes precedence over user-centered design. The same can be said of Noé’s designs for Zanotta, notably his ‘Derby’ chair in 2009, and the current ‘Nuvola’ with mineral curves inspired by the shape of a cloud ; it’s a metaphor ! This is quite a shift for Zanotta : the piece has been rotomoulded. The same technique that was used to great effect to produce the recent ‘Borghese’ sofa for La Chance. ‘It is influenced by the gardens of the Villa Borghese in Rome, but transposed into metalworking. I also like creating patios for interiors that break with the academic style. This relationship with nature allows me to embrace the landscape, capturing the light and everything that connects man to his environment.’

photo a brusaFerri

The real culture of luxury ‘I try to convey similar ideas and thoughts in both architecture and furniture design,’ says Noé. The alpine ski lodge that he fitted out in the mountains gave free reign to his organic creativity. Yquem, the new tasting room at the Meurice Hotel that puts Château Yquem Grand Cru at the heart of the experience as well as the future restaurant ‘Ciel de Paris’ at the top of the Montparnasse Tower, are places to escape to avoid the clichés. ‘For Château Yquem, I transcend space with a black mirror and a gilded ceiling. The visual effect is similar to that of an icon and the subtle progressive play of light intensifies over the course of the dining experience. To start with the image is slightly hazy, then in the dark, a golden hue appears to reveal a panoramic view of the kitchen. For ‘Ciel de Paris’, much of the magic is down to the effect of the mirror on the ceiling that becomes a source of sparkling light.’ For custom-designed projects, Noé doesn’t hesitate in hiring the services of a boat building firm in Saint-Nazaire to construct the wooden shell for his foundations. He often reflects on the future of humanity and the planet, subjects that he places at the heart of his work. During his exhibition at the galerie Pierre Bergé in 2008, his sculptures ‘Marée noire au claire de lune’ opened our eyes to the beauty of the Earth, and the vast areas of water devastated by toxic oil spills. Luckily, Noé has his ark, which is full of future projects.

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WWW.RADO.COM

mathieu lehan INTERVIEW By LAURENCE PICOT

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a remedy for design

neur

‘That which is most important is invisible.’ A strange leitmotif coming from a designer who creates objects… albeit less than usual ones. Sound, air, heat, cold, thought, light, stress, danger, dreams… All these things influence our daily lives and yet remain mysteriously deleterious. And what if we used the invisible to improve our living conditions ? The walls and floors of his Paris studio perched high up in a building in the working-class neighbourhood of Sentier are sparkling white, the air is cleansed by ‘Andrea’ purifiers, the windows open onto zinc rooftops and sky. A calm, studious and relaxed atmosphere. Nothing has really changed since he first started designing, except that these days he is surrounded by a small team of designers and the master of the house has gone from being anonymous to overbooked.

A sound mind in a sound body Prototypes are neatly placed on shelving units : the pendulum watch for Lexon ‘to slip on a wrist, attach to a belt, or just let it swing like Professor Cuthbert Calculus’s pendulum.’ In this period of general stress, why not relax and unwind by playing with time… Nearby, superb floor lamps made of marble and blown glass bubbles imprison a cloud : ‘A technical feat with immediate psychological benefits. Like a vanity, it seems reasonable to always put yourself in the place of an ordinary person faced with the power of natural elements. These Smoke lamps, produced by the Carpenters Workshop Gallery and blown by Matteo Gonet, near Basel, are now part of the permanent collection of the Design Museum in Ghent in Belgium. Then there is the family of electronic measuring tools for Schneider, ‘Objects that allow us to see how much energy we consume so that we can make the right decisions to reduce our daily carbon footprint.’ Attached to domestic appliances like dishwashers, refrigerators, telephone chargers and other small electrical objects, the Wiser collection for Schneider collects data and sends it back to us in real-time through an internal network, or you can consult and manage the data via the internet. ‘We rarely act

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His creations are linked to prestigious names like Cartier, Veuve Clicquot or the Centre Pompidou. Riding high, Mathieu Lehanneur differentiates himself from his peers : his projects to benefit the body and mind veer towards medicinal design. He invited tl.mag to his laboratory…

www.mathieulehanneur.fr digital Break, JCdecaux, 2012

Strates System, shelf/desk, Objekten, 2012

Mathieu Lehanneur

Take Time!, watch, Lexon, 2012

Wiser, Schneider Electric, 2011

photo j. -l. lu ys sen

photo F. ribon

/madame ©

Figaro

photo v. hu ygue

on what we can’t see’ notes Mathieu Lehanneur. Everyone remembers the ‘strange’ attitude of the owners of the first hybrid Toyota Prius, who upon seeing the speedometer transform into an energy meter all ended up trying to minimize their fuel consumption. And as a result, totally altered their driving habits ! We’re using the same type of idea for Schneider and it is highly likely that users of this ‘alphabet’ energy won’t forget to disconnect the machines when they see that, more often than not they are consuming energy for no apparent reason. Medicine and design I could cite dozens of projects by Lehanneur each more surprising than the last. But one of them stands out from the rest. I’m talking about the designer’s next challenge, the one that brings a sparkle to his eye. ‘My first magnum opus, my underriding theme : how do you incite people to take the correct medical treatment ? Since it’s possible to use design to heal I immediately thought about applying this to the pharmaceutical industry. Hardly anyone follows instructions to the letter when it comes to taking medication, either because they forget, or because they feel better and so… they’re not entirely cured. When I was a student I financed my studies by taking part in human trials for new treatments. I experienced first hand the problems people encounter. Quite apart from the economic waste – the pills that are thrown away – the major problem lies in the dosage for the treatment which is designed around a specific duration. I devised

various ways to push patients to take their prescribed medicine until the end of their treatment. I wanted to present it like a game. Treatment in the form of a multi-coloured onion, for example, where each layer of the onion corresponded to a dose and the final layer revealed a surprising colour and form, something for people to discover. These therapeutic objects, presented to VIA in 2001, seemed so far-fetched at the time that no one believed they could be applicable in real life.’ Pharmacopoeia of the future And in 2012 ? ‘The situation has changed. The major pharmaceutical brands no longer have the monopoly. Today there are two types of medication : generic and brand name. Patents are now passing rapidly into the public domain. If the molecules in both types of medicine have the same properties, how can we differentiate between them ? Simply by providing something extra, a guarantee that your treatment will be taken under the best conditions, that is to say according to the prescribed dosage, so you have the best chance of being cured. For the last ten years my work in this area has been lying dormant on computers used by policy makers in the medical industry. The first designed medication will emerge before long’, confides Mathieu, delighted that his dream will finally become reality. The first manufacturer to develop the path drawn up by the designer is called Becton Dickinson, a leading global provider of pharmaceutical technologies. Mathieu Lehanneur breaks the mould with an unfailing self-belief and conviction that places him at the head of a new movement : Art-Science. ‘The future can only be modified, if at all, through the collaboration of scientific experts with designers. How else will we be able to take a fresh look at what surrounds us and make beneficial changes ?’

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AUCTION AT PALAIS D’IéNA, PARIS - ThURSDAy 20/09/2012

SCANDINAVIAN DESIGN 8 FINN JUHL AND THE SCANDINAVIAN ÆSTHETICS PUBLIC VIEWING Monday 17 to thursday 20 september

INQUIRERIES Danka Sosic +33 (0)1 49 49 90 33 dsosic@pba-auctions.com

PALAIS D’IÉNA CONSEIL ECONOmIQUE, SOCIAL ET ENVIRONNEmENTAL 9, Place d’Iéna 75116 Paris

CONTACT François Épin +33 (0)1 49 49 90 13 fepin@pba-auctions.com

Pierre Bergé & associés - Paris 92 avenue d’Iéna 75116 Paris T. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01

collectors’ 1.

A CONVERSATION BETWEEN ESTHER dE BEAUCÉ ANd dIANE VENET

Passionate about artists’ jewellery for over twenty five years, Diane Venet lends her prestigious collection to museums around the world. Esther de Beaucé, Venet’s daughter, who owns a gallery in Paris specialising in these portable sculptures, looks back on their extraordinary artistic adventure.

conversation about artists’ jewellery – Esther de Beaucé : The idea for your collection started unexpectedly in 1987 when Bernar Venet wound a piece of silver wire around your ring finger. This sculptural gesture was also a sign of love, which is also what drove many famous artists from the early twentieth century to create jewellery for their muses. Marie-Thérèse and Dora Maar were both muses of Picasso. He engraved pieces of bone for one and and painted shells that he found on the beach for the other… – Diane Venet : As for Calder, he made his first pieces of jewellery for his sister’s dolls when he was eight years old . The first piece of jewellery by Man Ray was an earring designed using a thermom-

eter, which he gave to a friend. The wonderful Peggy Guggenheim, herself a muse, famously wore one earring made for her by Yves Tanguy and another by Calder at the opening of her gallery in Venice in 1942. She said it was in order to show her impartiality between Surrealism and Abstract Art !

– Esther de Beaucé : There is one point that you insist upon, especially in your exhibitions and books : the difference between a piece of jewellery created by an artist and jewellery created by a designer. When I talk about my job as a gallerist I am also often confronted with this confusion.

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sentiment 3.

7. 1.

Loop, silver ring, Axel Kufus, edited by Biegel, 2001 ©

Indeterminate line, silver ring, Bernar Venet, [ 1998, diane Venet Collection ©

Gran Prix, silver ring, Konstantin Grcic, [ ] edited by Biegel, 2001 ©

Marana, white gold ring, 18 carats, Bianca Muñoz, [ ] edited by Grassy Madrid, 2010 ©

Untitled, brass bracelet, Alexander Calder, 1945, Patricia Pastor Friedman collection ©

Esther de Beaucé wears a gold ring by Frank Stella [2010] ©

diane Venet wears a combination of inderterminate lines, Bernar Venet[1992], [ ] diane Venet collection ©

courtesy galerie minimasterpiece

[ pa r i s ]

courtesy galerie minimasterpiece

pa r i s ]

pa r i s

courtesy galerie minimasterpiece

pa r i s

courtesy galerie minimasterpiece

– Diane Venet : For me, wearing artists’ jewellery is akin to wearing art. I look upon my collection as a miniature museum. I lead a busy life and it’s become an intimate museum that I can take with me on my travels. At first glance they look like formulaic sculptures. But their raison d’être, and their application, their size – in short their close implication with the female body – make them special objects. – Esther de Beaucé : Indeed, in my small exhibitions, I always place the jewellery on pedestals or hanging from rods as if they were pieces of sculpture, distancing myself from the type of presentation that is considered the norm for ‘classic jewellery.’ My gallery window is designed as if it were an exhibition for contemporary art. There are the muses but there are also the goldsmiths who express the artists’ desire for jewellery. ‘The continuation of my hand’ said Braque, when talking about the German jeweller Heger de Lowenfeld who had made countless pieces of jewellery for him in the 1950s. – Diane Venet : In Italy, Gem Montebello played a key role producing work for Man Ray, Pol Bury, Nikki de Saint-Phalle, Meret Oppenheim and Lucio Fontana. His wife was the sister of brothers Arnaldo and

[ pa r i s ]

pa r i s

Gio Pomodoro. He was extremely active between 1967 and 1978. At the same time in France, François Hugo, great grandson of the writer, collaborated with Pablo Picasso, André Derain, Jean Arp, Jean Dubuffet, Max Ernst, Roberto Matta and Dorothea Tanning. – Esther de Beaucé : This crucial relationship is still at the heart of most projects. While some artists create their jewellery themselves, like Takis or Miguel Chevalier who uses 3D printing, most of them collaborate with skilled goldsmiths. Both of us have a ‘dream list’ in our heads made up of artists that we would love to commission to create a piece of jewellery : Erwin Wurm, Matthew Barney, Maurizio Cattelan, Tatiana Trouvé… but it’s a long list ! One of your latest exploits was to persuade the great American artist, Frank Stella, to make a ring for you. – Diane Venet : Yes, it was a long complicated process because it’s not just about the artist producing what he excels at on a much smaller scale. It can be a real challenge for an artist to create a piece of jewellery ! But when I received the ring designed by Stella, I was totally amazed. For me it represents the incredible conceptualisation of artistic genius and intelligent craftsmanship.

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love of

marble A

palette

extraordinary colours

in veined, mottled onyx or

Egyptian alabaster marble – derived from

limestone – can be found in layers of rock

throughout Europe and other continents,

from Belgium to Turkey via Italy… Marble has

been enhanced by the skills of stonemasons since ancient times. yet it is not just the purity or fragility of Carrara marble that charms collectors these days, it’s the way that it is being introduced into our lifestyles, in contrast with other materials and new uses. The Italian Renaissance advocated technical and aesthetic prowess as the great challenge for sculptors and academic artists. [text continues on page 42]

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Today, it seems that designers and architects have exploited the material in other ways, beginning with the Arco lamp (1962) created by the Castiglioni brothers or the round table PK54™ (1963) by Poul Kjærholm (ed. Fritz Hansen). In contemporary art, Tony Cragg, Maurizio Cattelan and Luciano Fabro have all been instrumental in bringing marble back to the forefront of the creative scene. The galleries and manufacturers have followed suit : Marsotto and Nilufar in Milan, Ormond in Geneva,

ymer & Malta in Paris, Carpenters Workshop Gallery in London/Paris, Studio 94 in New york with Rick Owens and soon Pierre-Marie Giraud in Brussels, Turkish Stones (IMIB) and their micro architectural projects ; all of them have helped give a new meaning to marble in relation to our daily lives. [text continues on page 46]

Open Space Oﬃce, Marble Quarry in Alentejo [Portugal], a series of photographs by Tito Mouraz, 2011, www.titomouraz.com

tito mour a z

2.3. Marsotto Edizioni designs [Milan] by Thomas Sandell, Naoto Fukasawa, Claesson Koivisto Rune, Ross Lovegrove, Jasper Morrison, Konstantin Grcic, Alberto Meda, James Irvine, white Carrara marble matt polished finish, 2011, www.marsotto-edizioni.com

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7. 4.

Love’s Gazebo by Werner Aisslinger in Kavaklidere white marble, Thus Spoke The Marble : The journey alters you, exhibition by Turkish Stones during Fuorisalone Milan, April 2012

Line Kask by Stéphane Parmentier, Ormond Editions [Geneva], 2011 © .

Marble Lights by Studio Vit, 2012

Sweet Horizon by Benjamin Graindorge, black Carrara marble. Courtesy of ymer & Malta [Paris], 2012 © .

Quark coﬀee table designed by Emmanuel Babled, white Carrara marble, 2010

luxproductions com

p h o t o b m a ltav e r n e

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8. 9.

Vistas by El Ultimo Grito composed of 15 diﬀerent types of marble, Thus Spoke The Marble: The journey alters you, exhibition by Turkish Stones during Fuorisalone Milan, April 2012 © cerutti baleri

10. Orbit Spots by A+A Cooren, black Carrara marble. Courtesy of ymer & Malta . [Paris], 2010 © p h o t o b m a ltav e r n e

11. Choir of Saint-Hilaire church in Melle by Mathieu Lehanneur, white marble from Namibia, . 2011 © photo F ribon

10.

12. Marble quarry in Turkey, Turkish Stones

11.

And now talented designers have also appropriated it : Marc Newson, Paul Cocksedge, Arik Levy, Ross Lovegrove, Emmanuel Babled, James Irvine, Jasper Morrison, Konstantin Grcic, Alfredo Häberli, Richard Hutten, Robert Stadler, Werner Aisslinger, Giacomo Ravagli, Benjamin Graindorge, El Ultimo Grito, Mathieu Lehanneur… Is ‘lightweight’ marble an optical illusion ? Whether carved or sculpted, marble catches the light, comes alive and transforms into a lighter, more vibrant material. T e x t b y L ise C oirier

46-47 tl.mag #15 art & design

12.

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MAISON REVUE NOIRE

SINdIKA dOKOLO

Revue Noire is first and foremost a human adventure. A story about friends who, weary of the clichés and endless pages of untruths being written about the African continent by socalled ‘specialists’, decided to show the Africa that they knew : an inventive, lively, resolutely modern Africa.

TExT By SIMON NJAMI

An Africa which, despite the weight of its past, the wars and troubled history, never ceases to thrive. A significant amount of this energy has been channelled into creative pursuits. Contemporary ones, of course, since there is no other place that is younger, more connected to the different trends and sensibilities of the world than the African continent. To put this energy in today’s context look no further than Maison Revue Noire, a gallery unlike any other, whose raison d’être is to pursue the work started by the magazine in a purpose designed environment. Over the years of travelling, meeting people, Revue Noire has shown artists, styles, and forms that were previously overlooked by capital cities around the world and has formed a unique collection, including archives, that reflect the research carried out in the field for over two decades. Revue Noire has produced films, music, exhibitions, published monographs, collective works and anthologies, and defended the idea of an Africa without complexes that has been asked to play a bigger role on the world stage. The archives and part of the photography collection (nearly two thousand prints) are now part of the Sindika Dokolo collection, without doubt the largest collection of contemporary African art. The coming together of these two initiatives was a natural event when you consider that both the founders of Revue Noire and Sindika Dokolo have the same ambition : to return Africa to itself.

A unique collection of contemporary African art The Sindika Dokolo collection was created in April 2004 by Sindika Dokolo and was composed, in part, by a collection formerly owned by Hans Bogatzke that was acquired in June 2005. A year later the Bogatzke collection only represented a quarter of the works, and since then, with the acquisitions policy put in place by the team in Luanda, managed by the artist Fernando Alvim, its goals are now to reverse the trend that sees most African masterpieces fall into the hands of western museums. It’s all about building up a patrimony that can be seen by Africans from an endogenous perspective, while contributing to the emergence of an original discourse that is developing on the continent. The collected works are often lent to African institutions, but also international ones, that don’t necessarily have the means to host the greatest contemporary artists of the continent. Besides an important section on photography, the collection, which includes artists such as Samuel Fosso, Zwelethu Mthethwa, Santu Mofokeng, Rotimi Fani-Kayode and more conventional artists, whose work extends from the early twentieth century to the 1960s like Mama Casset and Jean Depara, includes both established artists like William Kentridge, Berni Searle, Pascale Marthine Tayou, Moshekwa Langa, Olu Oguibe, Kay Hassan, Kendell Geers, Yinka Shonibare,

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5. 1. ‘En attente de l’aube qui nous surprendra aux rives du sommeil’, details of the installation by Joël Andrianomearisoa [Madagascar °1977-], Nomad Gallery, / Brussels, 2011 © joël andrianome arisoa

courtesy re vue noire

2. ‘Cigarette papers’, Joël Andrianomearisoa [Madagascar °1977-], / 2010 © joël andrianome arisoa

courtesy re vue noire

3. ‘Childhood memories’, original and unique drawing by Pascale Marthine Tayou [Yaoundé, Cameroon °1967-], series of 50 original drawings for the Box Collection Revue Noire ©

pa s c a l e m a r t h i n e tay o u / c o u r t e s y r e v u e n o i r e

4. ‘Baiser blanc’, Joël Andrianomearisoa [Madagascar °1977-] / 2012 © joël andrianome arisoa

courtesy re vue noire

5. Untitled, Mario Benjamin [Port-au-Prince, / © . Haiti °1964-], 2011 © m ario benjamin courtesy re v ue noire

photo v pe tion

6. Self Portrait, Alain Polo [Kinshasa, / Congo °1985-], 2009 © al ain polo

courtesy re vue noire

7. ‘Costumes Sunlight – L’Oiseleur’, PUME-Bylex [Kinshasa, Congo,°1968-], © . 2001 © - / courtesy re vue noire

photo a guide

www.fondation-sindikadokolo.com www.revuenoire.com Maison Revue Noire will be present at Paris Photo from November 15 to 18, 2012. Paris Photo will launch its first American edition in Los Angeles in the heart of Paramount Studios from April 24 to 28, 2013. http ://www.parisphoto.fr 6.

Ingrid Mwangi, Bili Bidjocka, Willem Boshoff, and Zwelethu Mthethwa, to cite but a few, and emerging artists whose output is supported by Sindika Dokolo. The collection is in a state of permanent movement and change, with new pieces being added each year, notably artists who, though not African, have been influenced or were inspired by Africa, like Miquel Barceló or Basquiat, and others associated with the diaspora like Nick Cave, because, as Dokolo himself states : ‘My perception of Africanness is not related to a flag, or geography (...). It opens a space in which Africans affirm their points of view on the century that has come to an end, a space that Léopold Sédar Senghor called a space for giving and receiving.’

Creation through generosity Despite Africa’s generosity and prolific output it was restricted by outside influences, in discussions of identity that have masked the complexity of its production. What is this identity that some would like to see perpetuated in a vision of exclusivity and communitarianism ? We only exist if we are capable of getting past the absurd boundaries

of otherness. The African creative is only African because he expresses his desire to belong to a world beyond the world. A world that includes rather than excludes. Now we need to write a new chapter in the history of Africa, with this chapter taking creation as its starting point. As the Ghanaian artist El Anatsui succinctly put it, this is work in progress : ‘When I last wrote to you about Africa/ I used a piece of parchment/ There were a lot of empty spaces in that letter…/ I can now fill some of these spaces, because…/ I have grown older.’ The Sindika Dokolo Collection and Maison Revue Noire endeavour to fill these empty spaces with exacting works that are in themselves expressions of freedom, not resentment and complexity.

Created in 1991 in Paris by Pascal Martin Saint Léon,

Jean Loup Pivin, Bruno Tilliette and Simon Njami. 2

El Anatsui, in International Review of African American Art, 9, n°3,

cited by Simon Njami in El Anatsui : A Sculpted History of Africa, Saffron Books & October Gallery, London, 1998

5 0 t l . m a g # 1 5 NE W TERRIT O RIES – A F RI C A

pume byle x

PARIS CAPITALE DE LA CREATION

NUGGETS FROM AFRICA Although Africa has long been considered the breeding ground of primitive art, a new crop of talented designers are dispersing a modern, universal vision of fashion, art and design, bringing an attractive and creative alternative to an international audience.

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NE W R E S O U R C E S F O R CONTEMPORARy dESIGN

Getting rid of prejudices

A lack of means, underrepresented artistic groups, virtually no design training facilities… If the dark continent is hampered in realising its ambition to shine creatively on the international scene, the overriding reasons preventing recognition stem from prejudices. Recycled materials, ethnic motifs, wooden sculptures or colourful batiks… are all attributes that link African creativity to the collective imagination. A representation that the creative diaspora are constantly struggling against. ‘It is not the role of the designer to specialise in a particular geographical area. When you’re a designer, you’re a designer, period’, says Cheick Diallo, who designed the exhibition poster for ‘Made in Mali’. A refusal to be catalogued based solely on origin shared by the Cameroonian artist, Barthélémy Toguo. ‘In 2007, I refused to participate at the Ven-

ice Biennale within the African pavilion ; I felt I was being placed in a ghetto.’ If the artist acknowledges the initiatives of exhibitions like ‘Africa Remix’, it’s not something that he would like to see happen again in a hurry : ‘We must not restrict contemporary African art. It has to be confronted with other art forms to reveal its versatility.’ Beyond the continental borders

This is a legitimate request coming from an artist with such a versatile body of work, who is equally at ease creating installations for museums and art biennials around the world, as working on a commission to design a football jersey for Puma or a poster for Roland-Garros. More recently, the Cité de la céramique de Sèvres invited him to create patterns for vases designed by Pierre Charpin and porcelain plaques designed by Adrien Rovero. In an altogether

different style, Yinka Shonibare explores post colonialism in the context of globalisation. His works are currently being exhibited around Trafalgar Square in London as well as in galleries and contemporary art museums around the world. While we’re on the subject of design, pieces by Cheick Diallo are rubbing shoulders with designs by Garouste and Bonetti, Ettore Sottsass or Olivier Gagnère at the Mandet Museum. The African-American designer Stephen Burks, based in New York, introduces Senegalese weaving techniques to modern pieces in American galleries and museums. The fashion industry hasn’t been overlooked either, with Dutch wax manufacturer Vlisco proposing collections that incorporate batik motifs with forms reflecting current styles and trends to African women. The demands of a new generation, who also want to participate in globalisation and be just as uninhibited wearing a pair of jeans or adjustable loincloth.

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TExT By FÉRIEL KAROUI

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www.barthelemytoguo.com www.diallo-design.com www.yinka-shonibare.co.uk http ://readymadeprojects.com

1. Vases, Série 3, designs by Barthélémy Toguo on Charpin n°2 vases, © . 2012 © sÈvres citÉ de l a cÉramique

photo g jonca

2. The Crowning, Installation view from ‘Jardin d’amour’, Musée du quai Branly [Paris], yinka Shonibare, 2007 ©

yinka shonibare

3. Vlisco fabrics, Six yards exhibition view at MMKA [Arnhem], 2012 © . m pluim

4. Judith cutting oﬀ the head of Holopherne #10, 7 and 8, Barthélémy Toguo, © . 2012 © sÈvres citÉ de l a cÉramique

photo g jonca

5. ‘Redemption’, specific creation by  Barthélémy Toguo for ‘We Face Forward’ exhibition for Manchester Art Galleries, 2012 © barthÉlÉm y toguo

designs expressing a strong cultural identity

Affected by globalisation, African youth are at the heart of the attention of their elders : ‘It is essential that we come up with our own solutions in all sectors – agricultural, health, economic, social, cultural, political, educational, sports…’, says Toguo. Combining actions with words, he founded ‘Bandjoun Station’ in Cameroon, a home and place for creativity with a residency for international artists, a collection of works and an agricultural project with the local community. To offset the lack of design schools while interacting with experienced and less experienced craftsmen, Cheick Diallo and Stephen Burks regularly supervise workshops in Africa, in Mali and Senegal respectively. The ReadyMade

Projects overseen by Stephen Burks are particularly interesting since they create a dialogue between the craftsmen with artisanal skills in Africa and large international brands like Missoni, Ligne Roset, B&B Italia…MAD (Museum of Art and Design) in New York dedicated an exhibition to the hybrid designer last year that, in parallel to The Global Africa Project, revealed the extent to which African craft tradition and culture provide a powerful and sustainable source of creativity. Even though there is still a long way to go before a new vision of contemporary African design becomes firmly fixed in the collective mindset, these artists and designers are gradually removing the mask of prejudice by enhancing local expertise through creation whose beauty and scope are universal.

L’AFRIQUE

CHIC C’EST

Ingrid Baars explores a series of work in which African art, shapes, models and fashion mingle and leave us astounded by exploring the relationship between aesthetics, emotion, flesh and seduction in a unique and poetic style.

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more on b lo g

P hotographs b y I ngri d B aars

In ‘L’ Afrique C’est Chic !’ Ingrid Baars combines two opposing worlds by playing with the contrast between classic African art and contemporary creation. A contrast between the lifeless object and the vulnerability of life, a tension between distance and attraction. She sculpts with wood, human body and metal with a real feeling of intimacy which she shares in each image, adding accessories and creations from famous stylists (Christophe Coppens, Iris Van Herpen, Romain Brau, Jean-Paul Gaultier) enabling her to achieve a sculptural dimension which reveals a powerful character in each photograph. Each element is chosen to reinforce the other, each detail that attracts the eye plays its part ; a shadow, a skin texture, a patina, in an exploration of aesthetics, emotion and seduction. In her works, Ingrid Baars calls for complete freedom. Fascinated by the human body, in particular the female body, by the beauty that emanates from it, but also by classic African sculpture, she recreates a contemporary vision through her freedom of expression by constructing powerful and untouchable living sculptures. The exhibition ‘L’Afrique C’est Chic’ runs until 16 September at the Fine Art Studio, Brussels, and will be shown in Paris from November 8th-30th. http ://ingridbaars.com, www.fineartstudio.be

Images in order of appearance : Wallflower, Queen, Luba, Gazelle, Sphinx, Hunter © all images ingrid ba ars

TExT By dAVId TRUBRIdGE

‘Without culture, , and the relative freedom a jungle. This is why any authentic creation

THE CULTURAL DESIGNER No thinking or caring person doubts that we are at a crucial moment in human history. Enough of us are acutely aware of how overconsumption is threatening our environment and our future. There is a groundswell of concern, but action and solutions are alarmingly scarce. Just what can we do ? Small steps have been tried and have largely failed. Reading the advertising copy you would be forgiven for thinking that ‘eco-design’ has solved the problem. It hasn’t and it won’t. Eco-anything has become an advertising spin to promote the business of consumption as usual. There is only Good Design or Bad Design -- if design is not actively trying to preserve our future it is, by default, destroying it. What is going wrong here ? To me, this kind of design is not working because it is not the whole design process. It is design stripped and reduced to the utilitarian and functional. There is no cultural dimension, nothing that creates a sense of identity -- and above all there is no nourishment. It is simply not enough to motivate the massive changes in habit and lifestyle that are required. It is just a continuation of the way design is working now.

Look at some of the indigenous houses and art of adornment around the world. There, buildings are made from locally available material, so that the form of the building takes on the characteristics of the material and its landscape, such as mud houses in Africa and bamboo houses in Indonesia. Yet these are also built with a panache and a joy in the exploration of what it is that expresses, the material, the people, the time and the place, right down to the detailing of colour and pattern. This gives them a sense of pride and identity. Compare that to the regular monotony of the identical boxes spread like a virus across the developed world, Germaine Greer’s ‘horrible’ houses 1. And the same applies to everything in them, everything that we buy in our consumer frenzy. Whether it is expensive or cheap design, it is all junk food. It is designed to leave you unsatisfied, with a craving to come back for more. Everything -- the clothing, the phone/camera/music players, the accessories, the luxury holidays, the monster houses and cars -- is designed, with the help of the advertising industry, to make us want more and to feel insecure and inferior if we don’t have the latest.

is a gift to the future.’

It is clear that we have to redesign everything to make our lifestyle sustainable. By that I don’t just mean things, but more importantly the way we do things. But for the moment, just talking about objects, it is not enough to simply replace box houses (and the few remaining accessories) with carbon neutral, 100% sustainable, etc. houses. If that is the ‘worthy’ option, it will be hard to get people to take it up, and even if they do the craving will remain. What is missing is culture. If we do not add the cultural element to the technological element of design, change will not happen. The challenge is to reduce our footprints to a sufficiently small size to allow enough for everyone for ever, IN A WAY THAT NOURISHES US CULTURALLY AND SPIRITUALLY. Cultural expression is a fundamental aspect and need of what it is to be human : the very earliest records mark the distinctive feature of the first homo sapiens as being creators of art, in cave painting and jewellery 2. And as the physical accoutrements of our lives, the ‘stuff’ we now buy incessantly, are reduced, so the cultural fulfilment has to increase in compensation. If we are culturally and

ALBERT CAMUS, THE MYTH OF SISYPHUS

spiritually nourished then I believe we will lose the craving we now have to form our fragile identities around the stuff we buy. In all the arguments for eco- or sustainable design, this is the key missing element. www.davidtrubridge.com [‘Icare’, the lighting installation of New-Zealander david Turbridge has entered the permanent collection of Centre Pompidou in Paris.] ©

a l l i m a g e s d av i d t r u b r i d g e

Germaine Greer in ‘A Few Home Truths about Fake Design’

Robin McKie in ‘The Voyage of Humanity’ in the Guardian Weekly 12.09.08.

in the Guardian Weekly 12.09.08. ‘The first 10,000 humans [in Africa, who were] skilled in the use of stone tools… began to display rudimentary artistic ability.’ Later in Europe, Cro-Magnons ‘hunted mammoths, left magnificent cave paintings and made woven clothing and elaborate jewellery.’

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it implies, society, , even when perfect, is but

brazilian mo For the first time in Brussels collectors of important Brazilian mid-century furniture will have the opportunity to acquire works by passionate and knowledgeable collectors who have pieced together masterpieces of mid-century design that tell the story of a country, a culture, a heritage and a legacy. TExT By KATHRyN SMITH

the world in a grain of wood We talk about Joaquim Tenreiro, Jorge Zalszupin, Sergio Rodriguez, Giuseppe Scapinelli and Alberto Reis. Milan-based architects and gallerists, Monica Unger and Cinzia Ferrara. Brazilian mid-century furniture is perhaps the last frontier in ‘discovered’ design. While much is known and loved of mid-century design emanating from Scandinavia, Italy and the United States, the same is not the case for Brazilian design. Almost unknown in Europe, the spotlight is belatedly turning to this little known treasury. Two decades of military dictatorship ending in 1984 explain much of this lacuna during which time little design was exported from Brazil. A number of the key figures of Brazilian Modernism went into exile or were imprisoned, among them Oscar Niemeyer and Paolo Mendes da Rocha. Centuries of immigration from Europe, African India, the Middle East and Japan brought together both traditions of craftsmanship and aesthetics in combination with distinctive indigenous materials and craftsmanship. Relocated in the context of an established indigenous design culture, vast and dramatic landscape and distinctive local materials, an authentic and original expression defined itself through this creative work.

Homegrown natural materials and talent The root of Brazilian furniture design is deeply grounded in the naturally occurring materials. As one associates oak and teak with European mid-century furniture, so jacaranda is the sine qua non of Brazilian furniture. The very nature of jacaranda has defining qualities for the furniture produced from its trunk and branches. Otherwise known as palisander or Brazilian rosewood because of its fragrance of roses when cut, it has been esteemed for centuries as one of the finest woods for furniture. A hard and heavy wood, jacaranda is distinguished by its unusually rich tonal coloration and black striations. It is a bold yet classical wood, simultaneously dramatic and elegantly refined. The hardness of the wood makes it perfect both for carving and for creating deceptively weight-bearing but delicate structural elements. Brazilian rosewood is now a protected species under threat of extinction, and the golden age of Brazilian rosewood furniture is firmly grounded in the mid-20th century. As one master furniture maker has said, ‘the search for the Holy Grail of lumber continues’.

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Brazilian Modern is curated in collaboration with Cinzia Ferrara and Monika Unger of BE Modern, Milan ; Cristina Barros-Greindl and Laurence Lachambre, São Paulo and Brussels ; and Archetype, Brussels and tl.mag. Contemporary Brazilian art and design works will also be shown at Ampersand House. Artists represented include renowned silversmith, Nilton Cunha and fine artist Paulo Climachauska, as well as other contemporary artists working in textiles, ceramics and jewellery. From 8 September (vernissage on 7th September 18.00–21.00) Wednesday–Saturday, 13.00-18.00 until 29 September. Ampersand House and Gallery 30 Rue Tasson Snel / Brussels, 1060 www.ampersandhouse.com

tl b lo g . t l m a g a z i n e . b e

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The pioneers of Modernism The collaboration between the architect Oscar Niemeyer and furniture designer Joaquim Tenreiro was pivotal in creating a distinctive vernacular in 20th century Brazilian design. Emigrating from Portugal to Brazil in 1928 when he was 22 years old, Tenreiro embraced the materials and traditions of indigenous Brazilian craftsmanship, uniting these with his inherited traditions in a new language that rightly acknowledges him as the father of Brazilian modernism. Given the platform of Niemeyer’s sleekly curvaceous modernist architecture, Tenreiro broke away from the 19 th century neo-classical inheritance that had dominated Brazilian furniture design and confidently exerted a new aesthetic drawing on technical mastery and formal lightness. Tenreiro advocated that Brazilian furniture should be ‘formally light… A lightness which has nothing to do with weight itself, but with graciousness, and the functionality of spaces.’ No better is this lightness displayed that in the sculptural fluidity and delicacy of his jacaranda and woven cane dining chairs that are seemingly too delicate to bear their appointed weight, but with sleight of hand belie their strength. Tenreiro’s matching dining table is a deliberately weighty juxtaposition that is a showcase for the magnificence of Brazilian rosewood as well as his mastery of scale. There is a modesty and refinement in

Tenreiro’s work that is only gradually discovered as the hand investigates the less visible aspects of his furniture : the bevelled underside of a chair or table and surprising juxtaposition of angles and volumes.

From unemployed architect to icon of 20th century design An architectural project also proved the springboard for Sergio Rodrigues to go from being a virtually unemployed architect to realizing his vision of a distinct Brazilian modern vocabulary in furniture design. In 1963 Rodrigues was commissioned to design the seating for the auditorium of Brasilia’s new university. This brief gave Rodrigues only twenty days to design, produce and install the seating – a challenge that focused his attention on the most readily available methods and materials. Strongly influenced by Tenreiro’s finely honed cabinet-making and respect for local skills and materials, Rodrigues looked to saddlery traditions for the making of leather seats and backs for the project. More strongly than any other Brazilian designer of the mid-century, the abundant usage of leather marks out Rodrigues’ work. Monica Unger points to the pair of original Kilin chairs from 1973 that are almost headstrong in their assertion of construction detail and materials. The solid hardwood frame is threaded through with a single piece of soft leather, held to the frame by a slim

Jacaranda and woven cane dining chairs by Joaquim Tenreiro with Rio rosewood and chrome credenza by Tim Bates. Artworks by Ane Vester and Patricia Urfels-Kronenweth, silver balancing bowls by Nilton Cũnha

2. Molé sofa and Sheriﬀ ottoman by Sergio Rodrigues 3. Curved Repetition 2 by Stine Jespersen, 2012 4. Silver balancing bowl by Nilton Cũnha

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5. Original Sergio Rodrigues leather and jacaranda Kilin chair; rug by Allegra Hicks and artwork by yann Guitton

6. Jacaranda chairs by jacaranda jacaranda

and woven cane dining Joaquim Tenreiro; dining table; and plywood credenza

7. Joaquim Tenreiro jacaranda and black glass dining table

carved rod. There is an honesty and authenticity in Rodrigues’ bold formal expression that celebrates structure and materials. The renowned ‘Sheriff’ or ‘Mole’ chair launched in 1958 was an international phenomenon with its overflowing, slouchy leather cushions and distinctive wooden construction pegs. The chair won first prize at the Italian Furniture Fair in 1961, resoundingly stamping Rodrigues’ iconic and confidently humorous expression on 20th century furniture design. If Rodrigues and Tenreiro epitomize the usage of wood and leather in Brazilian mid-century furniture, then glass and metal are more closely associated with the work of Polish émigré, Jorge Zalszupin. Emigrating to Brazil after the Second World War, Zalszupin founded the design collective L’Atelier, that included architects, engineers and craftsmen closely associated with the Novo Rumo collective of architects whose work focused particularly on glass, wood and metal. Two graphically elegant side tables in jacaranda, metal and glass by Novo Rumo celebrate functional structure while simultaneously creating forms that are lines drawn in space. Designed in 1950, these pieces are a timeless distillation of pure formal and structural elements.

A multicultural design identity Other highlights of the collection include works by Giuseppe Scapinelli and Alberto Reis. Scapinelli was both a furniture maker

and retailer in Sao Paulo in the 1950s and 1960s. His Italian background and archetypes of 1940s Italian design inform his sinuous and sensuous forms and love of glass and marble, yet at the same time are applied in a distinctive scale in his adopted home. The graphic rhythmic procession of Brazilian rosewood in the low table by Alberto Reis is a celebration of materials and craftsmanship. It is impossible not to mention other renowned Brazilian designers whose work forms part of this impressive collection include the architect Lina Bo Bardi, Jose Zanine Caldas and Martin Eisler. Lúcio Costa and Oscar Niemeyer’s architecture for Brasilia in 1956 was the impetus for many of the great partnerships and design projects that voiced a new and independent vocabulary in 20th century Brazilian design. Even during the years of military dictatorship from the mid-1960s the creative spirit and enterprise embedded itself in a sensibility that in its isolation remained homogenous. As a country and culture that received waves of immigration over the previous 200 years, the mid-20 th century was also a time of consolidation and embedding of identity. The flourishing arts and design culture that has emerged from Brazil since the late 1980s indicates that another great wave is underway. The astounding variety of modern architecture, design and art is only beginning to be known outside its borders.

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Annonce Presse Ampersand 230x285mm.ai

25/04/12

16:09

CMJ

Knuten candelabra by Josef Frank, designed in 1939. Tied by hand into a friendship knot to symbolise the Austrian architectâ&#x20AC;&#x2122;s gesture of peace and friendship toward Sweden, his adopted country.

www.ampersandhouse.com

ARCHIâ&#x20AC;&#x201C; SUd SELECTION By MARIE LE FORT

Marked by an unparalleled luxuriant exterior, South American architecture always starts from the context, and landscape, to design new models that reconcile indoor and outdoor life, contemplation and protecting nature.

Fasano Las Piedras, Uruguay, by Isay Weinfeld

At first glance, you might think it was a pavilion at a World Expo, a Japanese concept store or a showroom for a cutting-edge digital brand. And yet, located in Polanco, in one of the residential areas of Mexico, Tori Tori – to use its code name – is in fact a restaurant, albeit one ‘wrapped’ in a blue hairnet courtesy of the Rojkind Arquitectos agency. A restaurant which, in the image

We wanted the restaurant exterior to provoke a reaction,’ explains Michel Rojkind and his team. Therefore, as soon as you enter, we wanted you to feel a spectacular sensation similar to perhaps venturing into a fashion concept store, where the environment is pure fantasy. For this project, the agency relied on a bold, expressive design statement to transform Tori Tori into an architectural landmark with digital blue stellar mesh. However, once past this initial vision, the restaurant brings you into contact with open spaces and lush terraces that lend a breath of fresh air to the interior. After the over-

of the Japanese cuisine that characterises it, is able to reconcile opposites : a hyper-modern technology on the outside, an almost brutalist minimalism inside. ‘Often, in residential areas, there’s nothing much to see from the outside when yet another insipid residence sees the light of day, or another facade is painted. Nothing stands out ; there’s nothing new worth noting.

whelming lighting element that shines through various openings like a plugin leitmotif, it’s time for nature to shine with vegetal walls that create vibrant vertical frescoes to decorate the interior. Reassured by these opposing elements, the restaurant then introduces a mineral element around the sushi bar designed as a cavernous space flecked with veined marble. And to com-

Tori Tori by Rojkind Arquitectos, Mexico

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More quiet and reserved than the other members of the Brazilian hotel dynasty, Fasano Las Piedras is making its mark, near Punta Del Este, with 32 bungalows designed by Isay Weinfeld. ‘I hate repeating myself,’ affirmed a voice immediately, as calm as it was determined, embodying the very best of contemporary Brazilian modernist architecture. ‘What interests me is to realize exactly what every customer wants, but passing their wishes through my own design filter. Bringing pleasure to others gives me pleasure. Building a hotel is a long-term venture…’ explained Isay Weinfeld. Against a background of retro-modern spaces, Fasano Las Piedras combines stonewalls and precious woods, with a ‘rustic-chic’ vibe. The rooms designs are very sober, a mixture of concrete and wood (Cumaru, an exotic yellowbrown South American species), Isay Weinfeld has designed a landmark here devoid of frills or architectural convolutions : it gets straight to the point. Everything is in line, in its place. Unique with its spa decked out in Scandinavian-style lightwood, its Pool Bar opens onto a natural pool surrounded by protruding rocks, and a tobacco-brown coloured restaurant surrounded by stonewalls, the Fasano empire once known for its urban chic is now well acquainted with rural elegance and authenticity.

plete the feeling of dining in a unique place, all the seats and furnishings were designed contextually by Studio Esrawe, accentuating the character of each piece with the help of stylish bar stools, acid green Japanese seats or futuristic benches around a saké bar. ‘At Rojkind Arquitectos, we like to experiment with new techniques, pushing the boundaries of digital design to imagine new metaphors : for Tori Tori, the starting point was the image of a virgin vine that would wrap around the structure of a futuristic geometric mesh. And this mesh becomes the main theme for the exterior and interior because, once past the architectural presence, it superimposes as openings becoming a decorative element in its own right,’ concludes the architect. Parque Biblioteca España by Giancarlo Mazzanti Arquitectos

Perched on top of a hill above Medellín, Colombia, the public library 6.

www.isayweinfeld.com www.rojkindarquitectos.com www.giancarlomazzanti.com www.marciokogan.com.br www.mathiasklotz.com www.izquierdolehmann.com

1. Fasano Las Piedras Hotel: Bungalows, Isay Weinfeld, Punta del Este [Uruguay], 2011 2.3. House at lake Rupanco, Izquierdo Lehmann, Puerto Octay [Chile], 2011 © luis izquierdo

4. España Library Park, Giancarlo Mazzanti, Santo Domingo [Colombia], 2007 5.6. Cobogo House, studio mk27, . Brazil © photo n kon

designed by Giancarlo Mazzanti Arquitectos takes the form of three impenetrable geometric stone blocks. A strong cultural symbol, the complex embodies the renewal of the Colombian city associated worldwide for its mafia, the notorious Medellin cartel and its boss Pablo Escobar. What is more, this symbol of renewal and pride is conveyed by the culture that is prevalent in one of the most violent barrios – where even the police fear to tread ! Within this structure, there is a library, an auditorium and a community centre, linked by a common concrete podium. These protective ‘cavernous rocks’ appear to be lighter from the esplanade when in contact with the void at their base, above the valley. And if the overall facetted structure might seem austere with its charcoal grey tiled walls and small openings, there is more than enough light inside as the architects have opted for zenithal lighting. Inside, culture shines brightly.

Casa Cobogo by Studio MK27, Marcio Kogan, São Paulo

A leading proponent of the current trend for ‘light modernism’, Brazilian architect Marcio Kogan – and his studio MK27 – always deliver houses with overlapping ‘indoor-outdoor’ spaces. With no space constraints. For their latest project todate, Casa Cobogo, built in a residential area of Sao Paulo, the lounge opens up to let the garden in, and vice versa. Designed by Marcio Kogan and Carolina Castroviejo –with the complicity of interior designer Diana Radomysler –, the house was imagined as an immense protective screen : incorporating finely decorated sliding walls throughout. In the overall scheme of things, they are a reference to another volume placed on the roof as a graphic extension. This porous, curvilinear surface allows you to look out without being seen and stops the sun forcing its way into

the house by defracting the light with unerring elegance ; composed of modules sculpted by the American-Austrian artist Erwin Hauer in the 1950s, it lights up like a work of art in the evening. Indeed, Hauer believed that the sculpture had to be integrated in the heart of the architecture, recalling the precepts of modernist architecture, and the emblematic curves of the work of Oscar Niemeyer. L House by Mathias Klotz, Buenos Aires

A Chilean architect acclaimed for his choreography and minimalist approach to architecture, Mathias Klotz recently finished work on the L House, a residence in Olivos, a historic neighbourhood of Buenos Aires. Ensuring that each project has a direct relationship with the exterior and surrounding nature - in a similar vein to Marcio Kogan - Mathias Klotz has designed an ‘architectural landscape’ : after having taken great care to preserve each tree

7.8. Casa L, Mathias Klotz & Edgardo Minond, Buenos Aires [Argentina], 2010 9. Tori-Tori Japanese Restaurant, Rojkind Arquitectos, Polanco [Mexico City], 2011

planted on the plot of land, the architect created an L-shaped house around them which opens out onto, and focuses on the surrounding vegetation. A residence entirely devoted to interior-exterior dialogue. Setting aside the program and original implementation, the materials used take on a special significance : striated concrete grooves call to mind the bark of large tropical trees, travertine simulates the movement of waves on grey sand and there is a recurrence of undressed wood. Architecture pays tribute here to nature. Residence by Izquierdo Lehmann, Rupanco, Chili

Conceal, protect and bury to respect and reveal the surroundings, these are the precepts dear to the Chilean agency Izquierdo Lehman, a leading player in contemporary Chilean architecture and a keen supporter of its ideology. Built as close to the ground as possible, in the

southern region of Chile, where lakes appear like silver holes over the landscape, the family residence is barely perceptible from a distance, except for the grey chimney, straight as an arrow, which gives it away. Excavating the ground, to take advantage of the views facing the lake, the complex is both introverted and extroverted, contemplative yet restrained. Contemporary in form it may be but nevertheless, under the surface it borrows from ageless archetypes, codes that are thousands of years old that form the basis of the most accomplished works : a minimal footprint, an exemplary linearity, a respect for the site relayed by the use of local materials. No clumsy effects or overbearing use of concrete, instead grass, dry stone walls, local species of wood and a floor plan that offers equal space to all residents. Architecture to enhance the landscape and the documented life within.

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Despite gloomy years of recession and protectionism, Brazil is currently experiencing a design boom. A new generation of young designers and recent newly created brands have changed the local design scene. In Rio de Janeiro, a strong positive design movement is emerging. Indio unravels the inspiring story.

rio + design TExT By GUTO INdIO dA COSTA

1. Poltrona Trez [chair], doïz design by Studio Zanini de Zanini, 2010

2. Temes [easychair], Leonardo Lattavo & Pedro Moog, Lattoog, 2009 3. Knot [sofa], Leonardo Lattavo & Pedro Moog, Lattoog, 1999-2001

boom of a creative design scene

Sergio Cabral, established a state council for design promotion and development. The council’s focus is not only to promote design for local companies and industries – and therefore enhance the value and quality of products produced in the State of Rio de Janeiro – but also to promote the State and City of Rio de Janeiro as a vibrant creative hotspot, able to provide creative services nationally and internationally.

In the early 90s I left Brazil to study design abroad. At that time the Brazilian economy was totally shaken by successive economic plans that were trying to curb the volatile inflation rate. And to make things worse, we lived in a very closed economy : most of the consumer goods sold in Brazil were produced in Brazil by local brands, which were protected by high import taxes and a weak currency, keeping international competition at bay. Thus, Brazilian products were of a low quality and good design was hard to find, except in a few sectors, mainly furniture, led by architects such as Sergio Rodrigues, Lina Bo Bardi, Niemeyer and Paulo Mendes da Rocha, to name but a few, all designers of classic Brazilian furniture.

that were used as examples to promote better quality Brazilian products. Product development and industrial design started to take on a new importance and design production in Brazil has flourished ever since. Design fever has gained a new momentum with the preparations to host the 2016 Olympic Games. New urban plans, public transportation systems, buildings and facilities are already underway. It’s worth mentioning a few of the iconic buildings currently under construction : The Amanhã Museum designed by Santiago Calatrava, the City of Music by Christian de Portzamparc, the Museum of Image and Sound by Diller Scofidio+Renfro and the Rio Museum of Art (MAR) designed by Bernardes + Jacobsen.

Grounds for change Five years later, when I finally moved back to Brazil, the ground for change was already in place. A new currency was established, the Real, inflation was under control and the internal market was starting to face international competition from imported goods

New structural promotion The crime rate dropped steeply after the success of the favelas pacification program (UPPs) and the city atmosphere has already changed for the better, seducing the creative sector while encouraging new talent to settle in the area. Six years ago, the Governor,

Rio, home of design Rio+Design, a week-long annual event held in Rio, in November - and each year at the Salone de Mobile in Milan - is part of this promotion strategy. Pieces of jewellery and graphic design recently exhibited in Milan were created by a diverse group of designers and design groups : Antonio Bernardo, Angela Carvalho, Sergio Rodrigues, Oskar Metsavaht, Latoog, Mana Bernardes, Zanini, Gilson Martins, Marzio Fiorini, Rio21, Claudia Kayat, Em2 to name just a few. Success stories include an international brand of appliances who sourced a creative team in Rio to develop their latest refrigerator, a local brand of skates and surfboards made of natural eco-friendly material, jewellery made from rubber, wooden chairs, injection moulded or metallic chairs, a ceiling lamp designed by a jewellery designer inspired by an earring, wooden wall clocks, roto-moulded vases and the list goes on… It just shows that Brazil has what it takes to become a future design power. Only time will tell.

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www.indiodacosta.com www.em2design.com.br www.lattoog.com www.studiozanini.com.br www.antoniobernardo.com.br www.sergiorodrigues.com.br http ://manabernardes.com www.gilsonmartins.com.br www.marziofiorini.com.br

DESIGN cIty

Save the date for the Biennale INTERIEUR 2012, the must-see design event this Autumn 300 selected international design brands Cultural programme & installations by Ross Lovegrove (UK) Greg Lynn (US) Troika (UK) Makkink & Bey (NL) Nendo (JP) David Bowen (US) Muller Van Severen (BE) Professional Days 22 â&#x20AC;&#x201C; 23 October

buy tickets online at www.interieur.be

Kortrijk, Belgium

20 â&#x20AC;&#x201C; 28 October 23rd International Biennale

NOTE CHANGE IN DAYS: WEDNESDAY 19 - FRIDAY 21 SEPT. 2012 / AuTumN WINTER 13-14

The World’s Premier Fabric Show™ Parc d’Expositions Paris-Nord Villepinte France T. 33[0]4 72 60 65 00 info@premierevision.com www.premierevision.com

33 ddee duo ExPRESSIONS OF COCO -CREATIVITy CREATIVITy ICONOGRAPHy ANd EdITORIAL COORdINATION OF THE REPORT:

AURÉLIE BUNNEGHEM WITH THE COMPLICITy OF THE TEAM AT TL.MAG

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Sebastian Reymers Sebastian Reymers & Amanda Richards PEP – 2012 After 2 :2 we were invited to submit some designs to an Italian company that was looking for products for their next line. We realised that simply changing our surroundings meant everything. The first thing that got us truly excited about design again was PEP. It was fun, colourful, and wasn’t meant to hide in a corner. It was the opposite of how we felt during our fight with the immigration oﬃce, but we felt that the drive to design was there again, and that was all we needed. PEP was flexible, could be used by anyone, including children and those in wheelchairs, and looked pretty awesome doing its job to facilitate the hanging of a coat.

Dinosaur Design Louise Olsen & Stephen Ormandy Earth collection – 2012 With inspiration for this new collection coming from the earth, Stephen says, ‘We feel there is something in the nature of rock formation that relates very strongly to the human body ; we are made from minerals, and we too change over time. This comparable change and shift was a starting point for the Earth collection.’ The colour palette draws inspiration from the natural hues found in rock formations ; grey, ivory and brown with precious metal highlights of silver and bronze. ‘There is an amazing understated quality that manages to be painterly, poetic, and graceful in these images. We’ve always loved his use of natural light and tone,’ adds Louise.

www.sebastianreymers.com

www.dinosaurdesigns.com.au

Eggpicnic – Camila De Gregorio & Christoper Macaluso Amalia – 2012

photo p. remedy

It is a project that addresses a number of traditional aspects, in which modernity often remains obscured. In the realisation of this project, we wanted to integrate every element of the design process with our cultural heritage. Thus, Amalia is made of willow, a plant fibre found in Chimbarongo, Chile. The virtue of using this material lies in the sustainability of its production process, it is only produced on demand. And the process of handweaving gives its form, a particular technique of the artisans of that town that requires a wisdom forged through the years and whose codes should not be corrupted by the demands of modernity.

www.eggpicnic.com

new twins

Lhoas & Lhoas Pierre & Pablo Lhoas Candide bookshop – 2010

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354. b e

The main concern for this project was not to alter the bookshop that the neighbourhood was very fond of. The space had to become more open and functional, without betraying the original atmosphere. The whole appears to be a sum of smaller interventions : partitions were torn down, a mezzanine now links the ground floor to the first floor. We removed as much as we could to turn it into a bare volume. The new custom furniture is made of simply shaped natural wood and thin sheets of white steel that remind us of folded paper. This variety of means and decisions resulted in a contrasted yet unified ensemble. Messy yet under control, raw but neat.

Fox & Freeze – Tom De Vrieze & James Van Vossel

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www.lhoas-lhoas.com

Kabo & Pydo – Katarzyna Borkowska & Tomasz Pydo

FF1 – 2011

Wrappie lamp – 2011

FF1 is an indoor lounge chair made from a single square sheet of synthetic felt. There is almost no loss of material, it is not supported with wood or metal or other materials. The structure is self-supporting, the flax rope contracts the chair and finishes the chair aesthetically. The shell and base are not separated from the sheet but remain connected. Starting from a square surface, the felt sheet is twisted again and again, just like a scarf, ending up as a symmetric, but also asymmetric object. This is literally forms follows function. ‘So is a single piece of twisted felt strong enough to be a chair ? Well, you tell me.’ (CORE 77, USA)

One of the targets that we set ourselves when designing is to put our customers needs first. It is closely connected with the personalization of the product. Hence, we asked ourselves the question, what else can you expect from a lamp, as it can become even more functional ? We wanted to be able to cross over into private and public spaces. Thanks to the long cable that is twisted around a ceramic tube you can adjust the height of the Wrappie Lamp. The cable is combined with a noble raw material - ceramics. Ideal for hanging in the house over a table in the kitchen, dining room, bathroom, or on a bedside table, in the cafe, in a shop window, etc.

www.foxandfreeze.com

www.kabo-pydo.com

GamFratesi In 2006, Danish architect Stine Gam and Italian architect Enrico Fratesi founded Gamfratesi studio. They are the recipients of numerous awards and have been invited to participate in exhibitions all over the world.

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on castors. The stackable and flexible chair is suited for informal meetings, allowing mobility around the table encouraging flexible and spontaneous collaboration in the workspace (prototype/ Mindcraft12 by Danish Crafts).

Stine is a graduate of Aarhus School of Architecture in Denmark and holds a masters degree in furniture design. She studied architecture at the Ferrara University in Italy before gaining experience in an archi- Rewrite – 2011 tect’s studio in Torino, then subsequently working in Fumihiko Maki’s The idea behind Rewrite began as a study of the desktop and more specifically an atmosphere and feeling we believe is needed even studio in Tokyo. Enrico studied architecture at the university in Florin the middle of a fast-paced communication and technological ence and in Ferrara where he graduated with a masters in industrial environment. We wanted to create a kind of isolation work-bubble, design. He studied architecture at KTH University in Stockholm and that can work as a satellite desk anywhere you might feel the need furniture design at the School of Architecture in Aarhus. He also to concentrate and have piece of mind – in open office spaces, worked as an architect and designer for Arkitema Studio in Aarhus. public spaces or at home. Beetle chair – 2012 GamFratesi found the inspiration for Beetle Chair in the anatomy www.gamfratesi.com www.danishcrafts.org and aesthetic of the beetle. The duo reinterprets the beetle’s hard www.ligneroset.com and characteristic shell and structure in a chair that, like an actual beetle, has a hard exterior and a soft interior. The dynamic ability of the insect in space is developed through a four-legged chair

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Daphna Laurens Daphna Isaacs & Laurens Manders Cirkel collection – 2012

photo m. roeloFs

The ‘Cirkel’ collection revolves around the form of a circle. Two-dimensional drawings and ideas took shape by modifying this elemental shape. Composing, cutting and twisting the surface, adding or removing lines, applying materials and colour resulted in the design of the coﬀee table and wall lights. The inspiration is basic ; basic forms and lines. Bauhaus is of course one of their inspirations and sources, especially László Moholy-Nagy whose work they found particularly inspiring when designing the wall lights. The duo wanted to create a lamp that could double as a piece of art during the day and be used as a wall light during the evening.

www.daphnalaurens.nl www.galeriegosserez.com

Les M – Céline Merhand & Anaïs Morel Collerette / Casamania – 2012 Poetic without compromising their functionality, the objects created by Les M are inspired by and provide a new take on the rituals of everyday life. By carefully selecting materials which appeal to the sense of touch which are combined with well-thoughtout shapes, they give life to balanced creations that are easy to integrate into our daily lives due to their modularity. Collerette is a pouf that transforms into a chair with a blanket : in fact, the back of the seat is actually a rolled blanket, that, once opened, is used to wrap in a warm gesture of relaxation. It is available in two sizes : large, for two people, and small for one person.

www.lesm-designstudio.com www.casamania.it

Arash & Kelly Studio – Arash Kaynama & Kelly Sant Lord of the Flies – 2008 A fly swat to die for. Our first product is designed for C.U.L.T. with amazingly beautiful images by Zoobs. The fly swat is part of a project being put together for an exhibition showcasing the C.U.L.T Spirit. One hundred fly swats made using 3D printing technology were made available to the public as special collectors items. Profits from the sale will be used to establish a new women’s co-operative in Morocco to create 100% organic Argan oil. The aim is to turn it into a profitable business, with all profits reinvested within the community to protect the Argan forests, to create jobs and to train the community.

www.arashandkelly.com

poets tandems

A+A Cooren – Aki & Arnaud Cooren Kokeshi / Vertigo Bird – 2012 This talented duo took their inspiration for Kokeshi from a traditional Japanese wooden toy. A beautifully considered object which emits a soothing light, Kokeshi, created for Vertigo Bird, was exhibited at Light+Building 2012 in Frankfurt. Suitable for most interior spaces, the perfect location for the lamp would no doubt be next to a bed, on a table, or on a cabinet. The light radiates from a semispherical, translucent acrylic head which glows with an intense but soft light that emits from a wooden structure, reinforcing the warm human touch that the duo have brought to this reinvented traditional toy.

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www.aplusacooren.com www.vertigo-bird.com

gregorysung ‘Pour Celain’ & ‘Celain’ series Cristina Grajales Gallery – 2010/2011 Beauty, dilemma, exploration, balance. It embodies beauty and the dilemma of duality that confronts issues between form and function in art and design and questions inappropriate material for the application questioning whether or not to sit on a fragile piece of furniture in the shape of a functional object. ‘Should I sit’ as the form suggests. ‘Or should I observe as the material demands ?’ Works by Korean ceramic masters produced by Italian artisans, joining two worlds in the form of cross joints and securing symbolic materials and functions. gregorysung works with Ligne Roset, Roche Bobois, Apple, Philips dePury and Guzzini & E-My.

www.gregorysung.com, www.cristinagrajalesinc.com

Pool House – Léa Padovani & Sébastien Kieffer Louxor – 2011

photo pool

A domestic lantern that frees the light of its technical elements to make it float. Here the fluorescent light becomes a support, a pillar of the object. Free standing or for hanging. Their collaboration soon inspired discussions and debate as they imagined the creation of their first objects that would question their role as designers, the role of design itself and of objects in the environment. Beyond the obvious presence of an object, its beauty and function, the designers search for a multiplicity of meanings and highlight the emotions and reference points that colour the way each of us views and interprets a creative work.

www.poolhouse.eu

www.bouroullec.com www.mattiazzi.eu www.establishedandsons.com ÂŠ

p h o t o e s ta b l i s h e d

sons,

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studio bouroullec

Ronan & Erwan

The Bouroullec Brothers have been working together for about ten years now. Their collaboration is a permanent dialogue nourished by their distinct personalities and a shared notion of diligence with the intention to reach more balance and finesse.

Bouroullec Today, they design for numerous manufacturers, namely Vitra, Kvadrat, Magis, Kartell, Established and Sons, Ligne Roset, Axor, Alessi, Issey Miyake, Cappellini, Mattiazzi and more recently Flos and Mutina. At the same time, they maintain an experimental activity which is essential to the development of their work at Galerie Kreo, Paris, where four exhibitions of their designs have been held between 2001 and 2012. A new comprehensive monographic book was released in 2012 : Works, Phaidon Press. In 2012, two exhibitions were devoted to their work : a major monographic exhibition called Bivouac has been hosted at the Centre Pompidou Metz and Album at the Vitra Design Museum. They recently designed ‘Cercles’, an iPad application showcasing formal studies, freehand drawings and sketches in a very intuitive way.

Osso – 2012 The Osso family is being completed with stools and tables. Our overall intention was to let the sensuality of the wood material express itself, a result coming from an extreme polishing thanks to the use of highly sophisticated digitally controlled equipment and in the end, the human hand. The Osso collection includes : three standard tables (round, square and rectangular), two low tables and four stools – in maple, ash or oak that are stained or not. Folio – 2011 The evolution of Folio is a natural progression of a new typology of shelving furniture, by introducing a striking woven textile as the façade of this design. Our intention was to produce a jacquard tapestry textile based on original sketches that were scanned, enlarged and manipulated to create an irregular pattern incorporating unusual graphics which results in a sensual, textured fabric.

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D’Alesio & Santoro – Carlo D’Alesio & Piero Santoro Tera  3M/AMD – 2011

photo c. maggioli carlo

Specialized in lighting solutions, this duo explores the infinite possibilities of new technologies, applied for the private or public sector. The triangular shape of each module facilitates the creation of three-dimensional lighting configurations. Tera has a Dynamic White SSL system that is able to change the light temperature to suit customer needs. Each Tera module can be managed as one entity or be a part of a larger configuration. Developed in collaboration with Design Group Italia and Huub Ubbens, the project was first unveiled at the Triennale di Milano during the Salone del Mobile - Euroluce 2011.

www.dalesioesantoro.it

Arotin & Serghei Alexander von Arotin & Serghei Victor Dubin Whitescreen – 2011/2012 Reminiscent of Malevitch’s Black Square, but at the other end of the spectrum, White Screen is the perfect example of the fictitious nature of white as a colour. When all the red, green and blue cells that create the pixels on an LCd screen are illuminated, our visually stimulated brains perceive a white colour. But this white colour is only created from the sum of all the information. The project White Screen was created for Kraftwerk Berlin, a former power station, and one of the largest indoor spaces in Europe that transforms into a Contemporary Arts Centre. Galerie Flore has extended their focus on this duo until 13 October 2012. [image, Composition 6]

www.galerieflore.com www.arotin-art.com

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HAN Gallery – Pili Wu & Tsun-jen Lee Plastic Ceramics – 2012 developed during the Chinese Song dynasty, eggshell porcelain or bodiless chinaware is a unique technique which produces remarkably thin and light porcelain wares. Patterns can be distinguished on the porcelain pieces when examined under the light. HAN Gallery commissioned a duo - designer Pili Wu and Tsun-jen Lee a master craftsman in ceramics - to make fine eggshell porcelain wares more aﬀordable for the market. Their design of Plastic Ceramics is a contemporary take on traditional craftsmanship and the elegant lifestyles of Chinese literati. Suitable for both Chinese and Western tea-serving rituals and table landscapes.

www.han-gallery.com, www.piliwu-design.com

established partners Studio Job – Job Smeets & Nynke Tynagel Car – 2011

photo st udio job

Studio Job have rediscovered a lost path. Consciously and carefully, we are positioning decorative arts in the twenty-first century. Is that design ? Whatever. Is that art ? This style is placed within an enigmatic, intellectual framework by the number and complexity of symbols and signifiers it conveys. dear CAR, It’s not easy to design something for someone who has everything and can do everything. Especially for a high-tech global concern ? ! We thought about something you make with your hands. I mean, it all starts with your own hands. And it had to be ‘small’... for the contrast ! It eventually became a brass sculpture : a small portrait of a car.

www.studiojob.be

Bartoli Design – Carlo, Paolo & Anna Bartoli Still / Bonaldo – 2012 In late 2011 we presented a new table system to Bonaldo. It was more material-oriented than previous tables we had designed in the past, and there was a strong emotional feeling. We tried to create a mood around the dining area : the pleasure of something with a natural touch. We wanted to avoid glass, aluminium and steel, preferring materials that allow irregularity. designing a simple cone shape for the legs, we wanted to combine the form with a material that would stimulate the senses. We finally chose concrete, for its silver colour and a dose of harshness and irregularity that we were looking for, and we opted for a solid wood table top.

www.bartolidesign.it, www.bonaldo.it

Humbert & Poyet – Emil Humbert & Christophe Poyet Avenue 31 – 2008 The specificity of our duality stems from our distinct but complementary training. One of us trained as an architect and the other as an interior designer, a dual approach that allows us to reflect upon a space as a whole, to fully reconstruct it according to our mutual architectural tastes. For Avenue 31, the trendy sushi bar on Avenue Princesse Grâce (Monaco), the pooling of our expertise has resulted in the partial elimination of a floor, which gives us twice as much height to play with, enabling us to suspend copper lights from the dizzying heights of the ceiling. The decor is no longer applied to the architecture, the two are created together.

www.humbertpoyet.com

photo b. heller

Studio Caroline Ziegler is a graduate of Reims Ecole Supérieure d’Art et Design. Pierre Brichet graduated as an engineer from the Université Technologique de Belfort Montbéliard and then as a designer from the Ecole Nationale Supérieure des Arts Décoratifs in Paris.

BrichetZiegler Initially concentrating on personal work, they founded Studio BrichetZiegler, in 2010. Placing exchange and discussion at the fore of their research, they created an open space for reflection that allows them to approach projects with a new ambitious, poetic vision. In 2012 they received a grant from VIA to develop their ‘Couette’ sofa that they exhibited in Paris and Milan. They teamed up with Oxyo (a new French furniture manufacturer), working on various projects, notably their ‘Bienvenue’ collection which consists of wall furniture and ‘Week-end’ collection of outdoor chairs and tables.

Jersey – 2012 The knitted fabrics created by Diana Brennan reveal copper, stainless steel or silver threads when illuminated. We wanted to design lamps using this changeable fabric and create items of clothing around a light source. We tried a few different approaches to bring out the

qualities in this new, poetic material. Three variations (hanging lamp, table lamp and shelf lamp) allowed us to optimise Diana’s research on tension, the mesh, its metamorphosis and the reflections of the material. We worked on an equal footing : Diana brought her expertise and research. We formed the material and gave it a function. Diana had already started to introduce light… Our meeting was an occasion to turn her material into an object that had a use, while retaining its poetic dimension and sensitivity.

Week-end – 2011 The collection of outdoor furniture consists of a chair, an armchair, a low chair, a bench, a bistro table, a large table, a low table and a sun lounger. Designed with practicality in mind, all the seating is stackable. The slats, worked as alternate horizontal and vertical stripes, drawing attention to the solid and negative space, affirming the identity of the collection.

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established partners laureates

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Sismo Designers Antoine Fenoglio & Frédéric Lecourt Badoit – 2012

PearsonLloyd Luke Pearson & Tom Lloyd PLC – 2010

photo les sismo

Badoit asked us to contemplate designing a series of glasses that expressed their brand values. When thinking creatively with a brand, around function, use, materials… we always try to find the same complicity that we have when designing for ourselves. You have to be slightly oﬀ the wall, it involves a certain freedom, humour and a large dose of confidence. You need a bit of all that to be able to create a harmonious link between a glass and sparkling water ! And the glass that we designed for Badoit is a small feat of semi-industrial prowess because we managed to insert a glass ball into the glass, to play with the fine bubbles of water.

www.sismodesign.com, www.badoit.fr

Partnership is a black art. Collaboration and compromise are hard wired into every act. It is also a coming together of difference : different backgrounds, thoughts, instincts, strengths and weaknesses. Over time, communication becomes more instinctive and even telepathic. PearsonLloyd works across many different typologies of work. This could be formal, aesthetic or strategic. Projects need leaders and two people cannot hold the same pencil. There are also established themes that have grown over time and are a constant in the work : intelligence, beauty, surprise, rationalism, collaboration. The projects are our children

www.pearsonlloyd.com

Studio Ymer & Malta Valérie Maltaverne & Rémy Le Fur cristalCane – 2012 She, Malta, is a communicative blast of energy who lives her passion to the full ; he, ymer, her associate in the adventure, is an art enthusiast. Two worlds, cinema and art. The studio promotes talented designers and commissions limited edition furniture and objects at the forefront of contemporary creation. For three years they have been progressively and discreetly producing pieces of furniture and objects designed by a handful of emerging talented designers trained in the industry and already recognised in their own right : Cédric Ragot, Normal Studio, Benjamin Graindorge, Sébastian Bergne, Sylvain Rieu-Piquet and A+A Cooren.

www.ymeretmalta.com

double icons Cunnington & Sanderson Matthew Cunnington & John Sanderson Amygdala Womenswear collection

Raw Edges – Yael Mer & Shay Alkalay Selvedge / Kvadrat – 2012 Emphasizing the structural qualities of the fabric means deconstructing it. ‘The tricky thing is that it is beautiful as it is,’ says yael. ‘It just needs to be spread out to reveal its qualities.’ Like much of their work, the process was one of experimentation. The warp and weft thread arrangement allowed the pair to unravel and release threads from within the woven fabric, creating a hollow sleeve inside its surface. Then they placed and topped two layers in diﬀerent colours and re-stitched them together using a transparent plastic strip. A colourful rim had appeared, reminiscent of the selvage that can be found on the hem of raw fabrics.

photo s. Fuji

In december 2011 we were very happy to win the prestigious On–Oﬀ Land Rover Visionary Award which contributed to the support and visibility of our brand, enabling us to show our Amygdala collection. As a fashion designer you have to be multi-skilled and assume many roles. Important decisions related to design, marketing, production, have to be made quickly and accurately. The award eased certain pressures and demands, giving us more time and possibilities to create, thus enabling us to finish the collection and achieve our desired objective. We exhibited at the 27th International Fashion and Photography Festival in Hyères, France.

www.cunningtonandsanderson.com

www.raw-edges.com, www.kvadrat.dk

Wanted Design NYC Claire Pijoulat & Odile Hainaut New york / 2nd edition – 2012 © The second edition of Wanted design was a big success for the three-day run in Manhattan. Exhibitors, program participants and visitors were enthusiastic. ‘With so many important fixtures on the international design circuit – from London to Milan to Stockholm – it was important for us to create something unique to New york, while remaining relevant to a savvy, global audience.’ The show gave us the chance to push the design envelope and think beyond the typical ‘tradeshow’ format. We also felt that the atmosphere of Wanted encouraged visitors to take their time in exploring our installation and really interact with it in a thoughtful way.’ photo Wanted design

http ://2012.wanteddesignnyc.com

Bruno Fattorini & Partners – Bruno Fattorini & Robin Rizzini Marina collection / Extremis – 2012 The aim was to create a product that was consistent with the philosophy behind Extremis which consists of a high level of functionality with a togetherness aspect. ‘Tools for Togetherness’ is our baseline. Bringing people together is the common thread that runs through our work. So we opted for a picnic table in its most basic form and made it out of pultrusion glass fibre profiles. This way, seemingly endless tables can be created. Theoretically speaking, Marina is unlimited in length. The innovative material and design enabled us to remain true to our philosophy : having a bunch of people over for a picnic has never been easier.

www.brunofattoriniandpartners.com, www.extremis.be

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Autumn / Winter – 2012/2013

double icons laureates

Humberto & Fernando Campana The two Brazilian brothers followed different but complementary educational paths. Humberto holds a Bachelor degree in Law from the University of S達o Paulo, and Fernando holds one in Architecture form the S達o Paulo School of Arts.

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photo j. bisp o

yes! hotel

[portr ait]

Both have been instructors on the industrial course at FAAP (Fundação Armando Àlvares Penteado) and at the Brazilian Museum of Sculpture – MUBE (Museu Brasileiro de Escultura) in São Paulo. The latter provided assistance in setting up and monitoring visitors at the XVII São Paulo International Art Biennale.

with golden fairy tale characters adorning the walls. The second theme embraces the ‘evil eye’ - a bead charm used to guard against ill omen, with handmade illuminated glass eyes for an arresting effect. Finally, the third uses a wall collage of historic postcards to offer a glimpse of old Athens through a very modern design twist.

Hotel Yes ! – 2011 Umberto and Fernando Campana were the lead designers on this luxury hotel project, in collaboration with 20 local architecture undergraduates from the University of Thessaly. In line with the design duos love of restoring, recycling and sharing, the team created unusual and stylish handmade chairs, plates and side lamps. Working with the students who gave them an insight into local culture, the Campanas focused on three traditional Greek themes. The first pays homage to Karagiozis, a mischievous folklore shadow puppet,

Amanita – 2012 For this launch, the designers presented Amanita, a table lamp named after the iconic mushroom. A single piece of woven fibre fabric shapes upwards into a column and gently folds out creating a shade in the overlap. The muted light shines throughout the whole object creating a soft atmosphere. Amanita reflects once more the challenge to create a unique design, with an inherent functional and poetic appeal. Beautifully executed by Alessi, who have successfully retained its handcrafted charm.

MONA

a museum within a museum

Redefining Boundaries : The Museum of Old and New Art in Tasmania is nothing if not controversial. Olivier Varenne, curator of contemporary art at MONA discusses “the bunker at the end of the world” with Kathryn Smith. TExT By KATHRyN SMITH

www.mona.net.au 1. Exterior view MONA, Hobart, Tasmania [Australia]

m o n a / p h o t o l . c a r m i c h a e l

Perhaps more than any other work in the Museum of Old and New Art, Wim Delvoye’s ‘Cloaca’ reveals the motivation of David Walsh, the Museum’s creator. Splitting open its sleek veneer, ‘Cloaca’ exposes the raw interior and confronts accepted sensibility. The duality of intrigue and affront is central to MONA. Something of a 21 st century Pharaoh crossed with William H. Burroughs, Walsh, a self-conscious iconoclast, perceives that by attacking accepted convention, tackling it to the ground, both the individual and culture may re-define themselves. Walsh, like Socrates with an i-Phone, stimulates and leads others to deduction through self-enquiry. And like Socrates, charged with heresy and corruption of youth, one can imagine David Walsh relishing this legacy from beyond the grave in the cemetery that is part of the MONA site. Art down underground

MONA is a grand ambition. From wherever the journey starts, the destination is near the end of the world. The last port of call for Antarctic explorers was Hobart in Tasmania. From Hobart, visitors to MONA still need to travel by boat or seaplane to reach the last frontier that is MONA. The six-acre estate is a world of its own, containing a winery, brewery,

photo l carmich ael

restaurant, library and pavilions where visitors may stay. Least obvious is the museum itself, designed by Melbourne-based architect, Nonda Katsalidis. Excavating 35,000 cubic metres of sandstone allowed for the creation of an underground labyrinth. Visitors navigate with the aid of an i-Phone programme, on which they can record their impressions and reactions. This device, called the ‘O’, allows for a unique participation and collaboration between the viewers and MONA curators. By understanding responses to individual works as well as the interaction between works in the collection, installations can be calibrated to drive the journey through the collection. If this is at once a tool of manipulation as one of empowerment, then such an unsettling dichotomy is a welcome one that confounds the traditions of curatorial control and passive viewing. With humility as counterpoint to ego, Walsh recognized the need to collaborate in order to take his private collection to the scale and diversity now represented at MONA. Originally a collection that focused primarily on ancient art and antiquities, MONA now houses a collection of over 800 contemporary artworks acquired with the oversight and guidance of senior curator of international art Olivier Varenne. With an academic background in finance, tradecraft with the Pace Gallery in New York

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5. 3. Untitled #8, pencil on paper, Yannick Demmerle [°1969, Sarreguemines, France; lives and works in Tasmania] Courtesy of MONA © mona

4. The Life of C.B., 9 video monitors mounted in three rows, top : continuous silent colour video streaming live from his studio / centre : video stream delayed by nine hours / bottom : edited video from each of three camera positions, Christian Boltanski [°1944, Paris where he lives and . works], 2010-ongoing © / mona

p h o to b b o a r d m a n

and Gagosian in London, and a lifelong immersion in aesthetics and collecting, Varenne’s determination to chart his own course with solid navigational insights caught Walsh’s imagination. The longevity of their relationship says much for both individuals and ranks among the most important defining partnerships in contemporary art in the 21 st century. When Walsh publicly stated that ‘most curation is bullshit’ he declared open season on embedded traditions and conventions. Redefining the curatorial boundaries

With boundaries as broad and an agenda as clear as Walsh’s, the temptation could be to take refuge in the security of the outrageous and shocking. Yet Varenne’s agenda is clearly more complex and subtle. He describes the early days of their collaboration as focusing on the acquisition of many works by little known contemporary artists, but from this period evolved increasing focus on the selection of fewer and more site-specific works and commissions. One of MONA’s greatest assets is the opportunity it can offer to artists to create what they will for and in a space : becoming less a housing for artworks than itself an organic one with works that invigorate and animate its evolution. Specially commissioned works include ‘The Life of CB’ in which Christian Boltanski transmits a 24 hour live feed

mona

photo r. ch au v in

for the rest of his life from a video camera installed in his studio near Paris ; Roman Signer’s ‘Engpass’ and Reynold Reynold’s poetic drama ‘Six Easy Pieces’. Greg Barsamian’s ‘Artifact’ shows the head of an ancient colossus lying on its side, the interior revealing a mesmerizing kinetic spectacle. Wim Delvoye has been commissioned to create a chapel for MONA, and couples may marry beneath the stained glass gothic windows with their x-ray images of excrement, copulating couples and rats. The commissioning programme will also add a work by Conrad Shawcross in the next year. That these artists have in turn found in Varenne and Walsh a mutual understanding for their work is a critical element in the evident success of the commissioning and acquisition programme at MONA. If a single intention were to be ascribed to the MONA, it is perhaps the investigation of boundaries : personal, cultural, moral, philosophical, spatial, intellectual. Literally from the ground up, MONA has rebuilt the concept of the ‘museum’ and with it the contemporary culture of collecting, curating, exhibiting and experiencing art. Whether it is longevity or a short-explosive life that Walsh imagines for MONA, he asks us to join him for the roller coaster ride of a lifetime where we might climb off the ride with shaky legs and racing heart, but must choose whether to retreat to comfortable security or to face front on the absurd, ridiculous, tragic delight that is ‘life’.

Creative textile & surface design show

I NEW YORK I BRUSSELS I PARIS I PARIS I FASHION EDITION, Metropolitan Pavilion I HOME EDITION, Brussels Expo I FASHION EDITION, Paris Nord Villepinte I HOME EDITION I 31 July - 1 August 2012 I 19-21 September 2012* I 11-13 September 2012 I January 2013 *NOTE CHANGE IN DAYS: Wednesday 19 - Friday 21 Sept. 2012

indigo-salon.com

desÄągn down australian stories

Here are four luminaries who are making signiďŹ cant contributions to the buoyant and innovative Australian design landscape. drawing on their own innate creativity and the influence of their personal environments, their well-conceived work represents some of the best that the country has to oďŹ&#x20AC;er. er.

TExT By ELANA CASTLE

In geographical terms, Australia is literally oceans away from the design centres of Europe and the USA. While this overwhelming gulf hasn’t stopped a number of Australian designers from making their mark on the global stage, it does translate into a lack of exposure to the country’s local design scene.

‘By playing around with their shapes and connections, I devised a series of chandelier-style fittings,’ he adds. The piece was an immediate hit. Since then, Haug’s portfolio has expanded significantly. He has just unveiled a brand new collection – Fire Tree – a series of sculptural, bent metal candelabras. The series demonstrates Haug’s signature transformation of unrefined material into functional products that are well resolved, balanced and often, just a little bit quirky.

under Volker Haug While light fittings get a lot of press attention, not all that many can be categorised as standout. Melbourne designer Volker Haug’s work makes use of seemingly banal objects to create beautiful pieces that are also functional. Haug is an untrained designer but decided to established his own business after a life-changing mentorship. ‘That was the point at which I moved from experimenting, to making pieces to sell,’ Haug explains. The designer made a strong impression with his first few designs, which demonstrated an inventive use of cheap, unusual and often discarded materials. Instead of builders stores, Haug is likely to be spotted shopping for materials at supermarkets and salvage yards. ‘I am always on the lookout for objects in my immediate environment, particularly things that normally don’t go together,’ he explains. For his popular Antler fitting, Haug used a range of basic plastic adaptors.

Henry Wilson When Henry Wilson completed his undergraduate degree at the Australian University of Canberra, he faced a life-changing crossroads. Armed with a sophisticated level of woodworking skills and a strong conceptual approach, Wilson was confronted by the choice between a career in furniture-making or design. Fortunately for the design world, he chose the latter. While his craftsmanship is exemplary, the standout feature of Wilson’s work are the thoughtful commentaries that inform his work. His one off re-interpretation of the classic Wassily chair was his response to the plethora of copied classics, many of which have saturated the Australian market. His re-investigation of this theme developed further as he sought a response to the phasing out of incan-

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www.volkerhaug.com www.broachedcommissions.com www.henrywilson.com.au www.trentjansen.com 1. Tolix chair cover, Henry Wilson, 2010 2. Ceramic Anglepoise, Henry Wilson, 2011 3. A-Joint, Henry Wilson 4. Floor Jewellery [lighting], Volker Studio 5.

OMG! [lighting], Volker Studio

descent lamps. ‘I examined the Anglepoise light – a treasured design with staying power – and questioned how it would respond to the environmental change.’ Wilson’s reply was to develop a version suitable for LED technology and a ceramic model to filter out the harsh impact of compact fluorescents. Wilson is also involved in Supercyclers, an Australian initiative dedicated to promoting and developing considered, sustainable design. Wilson’s most recent project is the A-joint, a multiuse joinery system which can accept any standard material thickness. In Milan this year, the Supercyclers team used the joints to construct exhibition stands made entirely from locally-found discarded waste. His A-3 joint, a tripod version made for round objects, is due to be unveiled soon. Wilson is also currently working on a number of new pieces, each one representing his desire to create meaningful and lasting design.

Trent Jansen Trent Jansen is a storyteller. Drawing on the culture and history of Australia, Jansen adopts a cerebral, narrative approach to his work. ‘Australian design is often derivative of global influences,’ he explains. ‘In contrast, this unique country is my point of inspiration.’ After

a degree in design, Jansen interned at Marcel Wanders, a concept driven environment which was instrumental is shaping his early career. It also led to a successful relationship with Moooi, who produced his hugely popular Pregnant Chair. Dedicated to working with people who share his vision, Jansen was a founding designer of Broached Commissions, a company who initiate bespoke design inspired by different eras in Australia’s history. Under this banner, Jansen designed the Briggs Family Tea Service, bringing together two disparate cultures and aesthetics into one design. It’s a limited edition of only three, a direct result of the immense amount of time required to produce the set. ‘I also spend a lot of time researching,’ Jansen adds. ‘It makes for a slow process, but that’s okay because the story is crucial to the object.’ Jensen is also acutely aware of the waste we generate. His sign bench and stools are self-produced pieces made from discarded road signs. Although, many of his projects are labour-intensive, Jensen is not tempted to export his production. ‘My projects would lose relevance if they were made abroad,’ he explains. ‘My pieces are for Australians and by Australians. For me, it’s all about the here and now.’

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Supports international development of designers from Belgium Showroom Belgium @ Paris Fashion Week (FR) 27 Sept. > 4 Oct. 2012 Expo – Belgian Design On Tour @ Reciprocity-Liège (BE) 5 > 28 Oct. 2012 www.designliege.be/reciprocity

Contact info@wbdm.be + 32 2 421 84 42 www.wbdm.be

From top left: 1. Filles à Papa SS 2012 | 2. Sylvain Willenz - Profile Chair, 2012 | 3. Calogero di Natale AW 2012-13 4. 51N4E, Chevalier Masson, Julie Vandenbroucke - Lichtbed, 2010 © Filip Dujardin | 5. Olivia Hainaut S/S 2012 | 6. Alain Gilles O’Sun - Nomade Portable Solar Lamp, 2012 | 7. Limited Edition - Looping, 2012 | 8. Conni Kaminski SS 2012 | 9. Objekten Matt collection, 2012 © Julien Renault | 10. Michaël Bihain - Diaphragm, 2011 | 11. Krizalidstudio - Linadura Recto-Verso, 2011

Australian architectural firms Chenchow Little and McBride Charles Ryan, are creating seemingly eďŹ&#x20AC;ortless and award-winning buildings that welcome and withstand scrutiny. Both firms have honed an attitude to ďŹ nding form and making space that is producing dramatic results.

TExT By FIONA SMITH dU TOIT

ARCHITECTURE

AUSTRALIA

photo j gollings

photo j. gollings

photo j gollings

CONCEPTUAL CLARITy A first generation Melbourne architectural practice, McBride Charles Ryan (MCR) is built on more than two decades of creative partnership between husband and wife team Rob McBride and Debbie-Lyn Ryan. MCR consider the singular nature of their buildings to be a result of their approach to each project : ‘We never arrive at a problem already knowing the answer. It is always a conversation.’ Singular in both form and expression, MCR buildings possess an inherent optimism. This particular quality links all their projects rather than any one architectural element. ‘When we get to that point where all the logic and practical concerns support the direction we have taken, we know it’s right and then we just go for it.’ In 2009, ‘just going for it’ won MCR international acclaim when they took home the house category award for the Klein Bottle House (2008) at the World Architecture Festival. The Klein Bottle House is an exploration of a mathematical surface. MCR applied this form-giving idea to the design of a coastal holiday house. The approach ultimately offered a method and new way for arranging domestic space, and a language for the architectural expression. For Penleigh and Essendon Grammar School (PEGS) Junior Boys’ Building (2011), MCR ‘wanted a building of the imagination’, more than the requisite accommodation. MCR adopted the silhouette of

a Federation House as the design motif. They toyed with scale, surface, section and extrusion, found reference in Bagsvaerd Church by Jörn Utzon, and created spaces that are igniting young minds. The Yardmaster’s Building, (2009) is a piece of public infrastructure at Spencer Street Rail yards, Melbourne. Internally the building is hard wearing and pragmatic. In the hands of MCR the box has been given an identity and detail that is rarely seen in these workaday locations. The encrusted surface evolved from the restrictions of the project as much as from a desire to inject delight into the rail experience. The project was a highly technical exercise dictated by the performance requirements, site conditions and limited access for construction – two hours a night. There was minimal tolerance for onsite adjustments. Within these boundaries MCR found opportunity, extended the fabrication potential and created a building of double-skin precast concrete with a polished tiled pattern formed on the external face ; a ‘jewel box in the junk heap’. MCR’s largest project collaboration to date is the new Victorian Comprehensive Cancer Centre (c.2015), currently under construction in Melbourne. The $1 billion world class cancer centre is designed by Design Inc, Silver Thomas Hanley in partnership with McBride Charles Ryan.

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Chenchow Little

Established in 1994, another first generation Sydney architectural firm, Chenchow Little (CcL) is the creative partnership of Tony Chenchow and Stephanie Little. ‘We do not have an ideology to push and try to begin each project free of preconceived ideas.’ Singular in form and sharing a graphic lineage ; there is a touch of serendipity amongst the resolve of Chenchow Little’s buildings. CcL have found architectural form where others have found frustration. The Pitched Roof House (2009) is located where planning guidelines dictate a pitched roof ; there were words without definitions. CcL found this disjuncture between the written word and the image, and went on to create a contemporary language for the triangulated roof. Working between drawings and balsa wood models to evolve the form, unexpected and valuable spatial qualities emerged. The triangulation, carried onto the building facades, causes spaces along the walls to appear elongated and corners flattened. There is a constant shift between the vertical and horizontal, and the skilful integration of the facetted roof with the orthogonal floor plan produces a coherent whole. Charcoal anthra-zinc cladding contrasted with fibrous cement sheet ‘…plays into the experience of the building and creates visual continuity.’ The Skylight House (2011) was a chance to invert the planning of a Victorian terrace and

open the interior to light and volume. Once again there were inadvertent, and ‘…experientially exciting’ outcomes. The long section of the building reveals the two horizontal planes that guided and now define the project. Each plane folds and follows the line of either ground or ceiling. The skylights are unified externally to create two strong, distinguishing elements that can be seen, obliquely, from the street. The sculpted roof structure emphasises the openings and reinforces the flowing form while uplighting preserves the ceiling as an abstract element. Many years ago Chenchow visited the Louis Kahn designed Richards Medical Centre at the University of Pennsylvania where he was able to observe Kahn’s subtle manipulation of the window and wall relationship. Experiencing this, Chenchow understood how Kahn’s sleight of hand, finishing the glazing unit forward of the structural brick changed one’s perception of the building entirely. This subtle appreciation of detail is finely wrought across the Chenchow Little portfolio. There is a disarming honesty and distinct lack of pretence in the conversations of McBride Charles Ryan and Chenchow Little. Their buildings demonstrate the courage of their convictions. www.mcbridecharlesryan.com.au www.chenchowlittle.com

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19–23 September — The Sorting Office 21–23 New Oxford Street London WC1A 1AP

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TExT By EMILy BALLANTyNE-BROdIE, WITH ANNABELLE HOLT ANd BAdEN HOLT

connecting to territory

I believe connection to territory and place creates a sense of belonging and meaning in our everyday life. Local identity and heritage in different territories are key elements in designing sustainable solutions for communities. The definition of ‘heritage’ adopted by the Territorialist School (from Alberto Magnaghi’s thought) identifies each ‘territorio’ as having a unique character : the people, environment, landscape, urban features, local knowledge, culture and crafts. The important role of the territory when tackling the problems of sustainability is vital, I refer to the Italian born Slow Food or Australian born Permaculture movements. Indigenous Australians in the remote Australia desert taught me about the intimate connection they have with their territory. Community-focused people living on and strongly connected to their land, their lives are given enduring meaning by their heritage and natural environment. They inspired me to look at life differently and observe in detail the natural elements and cycles. Their connection to territory is expressed very clearly through their artwork, the creation of which was a daily occurrence at Delmore Gallery, near Utopia, North East of Alice Springs where I stayed. Their art is a contemporary expression of altyerre, the Dreamtime, which incorporates expressions of ceremonial story, landscape, flora and fauna.

I was the guest of Baden who grew up at Delmore Downs. Baden explains : ‘Growing up in remote Australia, peoples’ connection to the land is a palpable experience. It is felt through your feet, which is one reason why children hate having to wear shoes. Earth is very important ; sitting on the soil is like sitting with your source, your ‘mother’, whereas to western eyes it looks like Third World poverty. Tracks on the earth look like abstract markings to an outsider. To the local, they conjure up the memory of the being that made those marks, what it was doing, when and how it is connected to the season and the life around. A view through time. Walking through the city landscapes now they feel empty of connected people. The land mourns this and if I allow myself to feel this I am invariably swept with feelings of sadness and pain. The land needs people who acknowledge and honour it. This is important for the respect and regeneration of natural systems but also spiritually. The last time I was confronted with this sense of loss and need for healing in a city, I asked what would be a solution. Urban Permaculture was the answer, teaching people to observe their local patch of nature and create a mutual relationship, thus developing connection and finally healing.’ Indigenous people have wisdom to learn from. Urban existence is a drop in time. I think we may discover that even in a landscape of concrete and cars we can create havens that are truly resilient and meaningful. Territory is everywhere, and is a place to feel spiritual, cultural and emotional connection.

Decoding the connections This special place taught me how to relate to myself and the world around me. Connection to the land, observation of and participation in the rhythms Delmore Gallery : www.delmoregallery.com.au and cycles of nature is literally the lifeblood of the indigenous culture. Watching the sun rise and fall I was able, for a precious moment, to breath Baden’s Project : www.aridpermaculture.com Emily’s Project : www.urbanreforestation.com in time with the oldest continuously living culture on the planet.

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Last year Emily spent a significant amount of her time in the desert of central Australia. Few places could differ more from the lush Victorian countryside where she grew up. She is a sustainable service designer and place maker and designs for people to connect to their territory and their community.

Australian design collective Matilda launched at London Design Festival in September 2011 but has been in the planning stages for much longer. London-based founder Jenni Carbins gives us keys to better know and reveals the reasons why Matilda was created, its aims and focuses. 2.

matilda TExT By GIOVANNA dUNMALL

‘It began with me having lived in London for several years and noticing a total absence of Australian design beyond a barely noticeable Sass & Bide in the realm of fashion,’ says Jenni Carbins. She knew her native country Australia had great design, so why didn’t people outside the island continent know this too. ‘People either don’t even know Australia has design or they think it’s only cork hats and didgeridoos.’ Matilda was created to change that perception.

Birth and struggle The first thing Carbins did was contact the highly successful Australian homewares and jewellery brand Dinosaur Designs (which has stores across Australia, in New York and is distributed in North America – cf Duo p. 82) and

they told her it was down to two things : ‘Price as well as simply the fact that no-one had taken the mantle to showcase Australian design in the UK and held it for long enough.’ Carbins decided to be that person and launched a pilot research project at London Design Festival 2010. ‘We learned a lot – mostly about how uncompetitive it is to import new brands into a highly competitive international market.’ Never one to be discouraged (she is after all imbued with the energy and optimism of her fellow Australians), Carbins decided to turn the business plan on its head and bring forward local manufacturing from Year 4 to Year 1, ‘pre-Year 1 in fact’. Their motto soon became : Designed in Australia, made in Britain. ‘It’s a local production story, which goes down extremely well here.

We maintain the freshness of Australian design, which is new to this market and maintain all the competitive advantages of a local company – in terms of lead times and price and being able to speak to someone in the same time zone.’ Carbins remains London-based since she believes the UK city is the world’s creative capital. ‘In fact, many of the great designers in London don’t have British passports.’ Nurturing Aussie talents Matilda now produces 17 products by 10 designers in the UK (importing only two from Australia). As well as promoting established Australian designers, Matilda sees its role as nurturing young and emerging talent. One example is Coco Flip, a product and

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the australians have landed

www.matilda-design.com www.londondesignfestival.com www.clerkenwelldesignweek.com 1.

Coco pendant, designed by Kate Stokes, 2011

Bandy stool & table, designed by Jardan, 2012

3. Jenni Carbins 4. Spun Bar stool, designed by LifeSpaceJourney, 2012 5. Chrysalis, designed by Cindy-Lee davies

interior design office run by Melbourne-based Kate Stokes (a former graphic designer). Stokes’ first ever product design was Coco Pendant, a hand-crafted ceiling lamp crafted from turned Victorian Olive Ash and powder-coated spun aluminium that is selling well and has the alluringly strong but simple forms of a future design classic. Another interesting Australian young designer Matilda works with is Henry Wilson, a 24-year-old Eindhoven graduate living in Sydney. Wilson reinterprets classic designs and his beautifully worn leather armchair covers for the classic Tolix chair and repurposed Anglepoise lamps are pieces of understated beauty. ‘He was named by Dwell as one of the 27 designers to watch globally,’ enthuses Carbins. ‘He has had the courage to be different.’ In 2010 Matilda presented some pieces by Trent Jansen, another talented young Australian designer, and Matilda will be launching the production version of his Nuptial Pendant lamps (two lampshades attached together like a couple embracing) at the London Design Festival this year.

An inspiring land So what does Australian design have to offer that’s new, fresh or distinctive ? ‘Australian designers live in an extremely broad country which is full of light and open spaces and skies,’ exclaims Carbins. ‘The virtues that come with that are hope and freedom, along with a can-do attitude.’ Australia is rich with contradictions she continues, it is both young and ancient at the same time, a place of raw nature but a country with sophisticated cities too. Its distance, geography and isolation make it unique. ‘Remoteness is a virtue and makes for an extremely inventive and innovative nation,’ asserts Carbins. ‘If you can’t get it made then work out a way to do it yourself. Australian designers are free from the expectant weight of tradition and how things ‘should’ be done.’ Matilda is less than a year old but many product designers are now contacting Carbins and her team rather than the other way around. Some of the products are stocked in Liberty’s in London and sold by online retailers such as mydeco.com ; its Coco

Flip pendant lamps will soon be gracing the ceilings of the DKNY and Esprit flagship stores in London, as well as a new hotel in Dubai. Despite these successes, Carbins is refreshingly candid about how much work lies ahead and how challenging things have been so far. ‘If you look at the bigger picture no-one is taking on the Australian brand promotion role in this way within this territory and it’s a big thing,’ she says. ‘It’s going to take 10 - 20 years for people to really have an understanding of what Australian design is and what we’re capable of.’ Carbins and her team of four appear not only committed but up to the task. They are moving into their first office in June (they have – amazingly - been working out of Carbin’s one-bedroom apartment until now), have just launched three new products (at Clerkenwell Design Week) and are launching five more in September 2012 at the London Design Festival. Next year they hope to show at Milan’s Salone. Matilda has the energy, style and design savvy of her native country. And it looks like she might just be here to stay.

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24 – 28. 8. 2012

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TExT By FIONA SMITH dU TOIT

2. 1.2. Aesop Twin Stores in Sydney

aesop 3. Aesop packaging

Stacked newsprint, corrugated cardboard, sawn timber, blackened steel, perforated aluminium, fields of string and glass : just some of the materials found in the singular spaces designed by, and for, Australian based skin and personal care company Aesop.

— a suite of interiors Standing in the Aesop store, Flinders Lane, Melbourne I’m holding a jar of Parsley Seed Anti-Oxidant Eye Cream but I’m thinking about corrugated cardboard. The entire shop interior is constructed from stacked cardboard. The texture and effect is beautiful ; accoustics are softened. It’s alluring and completely unexpected. Unlike so many other global companies, Aesop has resisted the temptation to simply replicate store design or combine an endlessly convenient kit of parts. For Aesop each new store design offers an opportunity to engage. Shelving, storage, and display are given over to innovation while the distinctive packaging of the Aesop merchandise provides the unequivocal presence. Three recently launched signature stores in Australia are explorations of material, light and location. The ‘twin stores’ designed by March Studio, are both to be found in upscale shopping centres, several kilometres apart in central Sydney. Two conceived as one, the twin stores naturally share creative DNA, yet each has an individual character and quality quite apart. Aesop Pitt Street, the dark ‘twin’, offers repose and shelter from the surrounding gloss and glamour. It is composed of perforated aluminium, glass and raw steel. Aesop Bondi Junction, the cream ‘twin‘, is light, open and extrovert ; constructed primarily of steel and peg board. In both stores

pivoting steel shelving, stacked with merchandise, form the shop front, shop door and shop wall. Each store includes a LED screen that keeps the ‘twins’ in constant virtual contact via video capture and projection. In contrast, the Aesop flagship store in Collins Street, Melbourne, designed by Kerstin Thompson Architects is as subtle as it is certain with site specific references. Blackened steel, copper, brass, perforated sheet metal and leather come together in bespoke furnishings and fittings. The existing copper shop front, a precious piece of Melbourne retail history, inspires the use of copper fixtures. A swathe of leather forms a dramatic backdrop ; charcoal grey carpet completes the hushed, gentlemanly tone. Twenty five years after setting out, Aesop has created a suite of store interiors around the world. Well known for quoting their favourite authors, this one caught my eye : ‘I warn you, if you bore me, I shall take my revenge.’ (J.R.R. Tolkien). In Melbourne, the Aesop consultant respectfully draws me back and completes my purchase. No chance of getting bored here. www.aesop.com www.kerstinthompson.com www.marchstudio.com.au

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In his bestseller, written in the 1960s, entitled Understanding Media, Canadian theorist Marshall McLuhan stated loud and clear that ‘The medium is the message.’ TExT

ANd

SELECTION

yANNICK LE GUILLANTON

Half a century later, this statement has never been so relevant and applies to all sectors of our global digital society. The multiple references and influences that advances art in comparison to our lifestyle, opens up a vast experimental playing field. Let's discover the pioneers of these terra incognita. A Third Industrial Revolution In the 1990s, a few visionary artists had started to ride the binary wave of new technologies and make their voices heard. Digital art or media art ? The subtleties of the meanings and neologisms still flourish in the language of Shakespeare. These new tools are everywhere, regardless of which creative field interests you. They have hybridised the landscape of contemporary art, becoming the means and the end that give you access to different works. For American economist Jeremy Rifkin, our media age, dominated by the Internet, can be seen as a Third Industrial Revolution. The steam engine sustained the print-works, the internal combustion engine telecommunications and the Internet is expected to feed off renewable energy. So it makes sense that artists are concerned with environmental issues. Indeed, in this age of widespread dematerialisation,

designers have never taken such a keen interest in man’s place on our small blue planet. At the same time, they call into question the omnipotence of a network that infiltrates our daily lives and tests the limits of our individual freedoms. These artists seize the opportunities that new information technologies and telecommunications can offer, often in good part to awaken our consciences. In doing so, they denounce the network of the economic, social or political system which establishes itself insidiously around the cult of worshipping money that confines the masses to enslavement. Street photography Photographer Michael Wolf has devoted part of his work to indiscretions that multinational firm Google have captured on camera with their strange vehicles that criss-cross our streets, taking snapshots of our daily lives. In his series entitled ‘street view’, which recaptures the commonplace views that can be seen on the eponymous website, he exploits the hegemony of a Big Brother that steals a little bit of our privacy. Here Wolf provides us with blurred characters captured going about their daily lives : an innocent kiss, an angry dispute or a robbery.

Back to the future An increasing number of artists are rising up in resistance, questioning the confidentiality of our exchanges, or more radically demanding anonymity for the same reasons as ‘the Anonymous’. German artist Aram Bartholl draws inspiration from espionage techniques that were widely used during the Cold War for his ‘Dead Drops Project’. He invites everyone to anonymously insert their USB sticks into the mason-

ry of our walls to share our data outside of the network. The famous peer-to-peer-file-sharing network is now offline in a public space. This project adheres to a manifesto available online, where activists are shown how to install the object via the menu and find the places around the world where they can freely secure their laptops. As paradoxical as it may seem, these subversive high-tech installations maintain a close link with long gone eras, like the evidence of the use of graffiti almost two thousand years ago in Pompeii. In ‘Are you human ?’ Bartholl was inspired by capchas, a security system that allows software to authenticate that the response is generated by a human being and not a computer. He skilfully blends reproductions of these primitive cryptograms - with graphs that are often available only to a limited audience - into the public space. The advent of this novel form of writing - without going into all the details - marks the emergence of a new civilisation and perhaps, with a university project called Re-Capcha, the noble intention to help everyone to digitise entire libraries by typing these limited number of signs on their keyboard. One of Bartholl’s major motivations is to reinject a part of our internet-saturated planet into real life. The viewer is then invited to take part as an actor in a wide participatory democracy that is controlled by the action. It revives the eminently popular performances from

1 2 0 - 1 2 1 t l . m a g # 1 5 p o r t fo l i o

The low definition image is a reference to the crude aesthetics of video surveillance. He looks for un-staged action shots from everyday life just like street photography artists Diane Arbus, William Klein or Robert Franck, the only difference being that these images have been captured by a robot that is alien to him. In this virtual journey to the heart of metadata amassed from the streets of Paris, Manhattan or Barcelona, he rebuilds his own vision of the world. Michael Wolf puts human beings - accidentally caught in the cliché of this open-air setting - centre stage. His talent isn’t limited to isolating a square millimetre scene that captures our attention on the Web, he also highlights the pixels that make up the image. A mirror image of life which only amplifies our position as a voyeur confronted with an everyday situation that is banal, exciting or surreal.

michael WolF

/ g a l l e r y 51

Fine art photogr aph y

3. Herr direktor, An array of autostereoscopic lenses, Rodolphe von Gombergh, 2008

rodolphe von gombergh

samuel rousseau

/courtesy

galerie aeropl astics brussels

michael WolF

/ g a l l e r y 51

Fine art photogr aph y

the 1960s-70s. We return to the revolutionary whiff of communities, who not so long ago were defending a different path. Especially notable are the protestors of May 68 marked by a Trotskyist or Maoist ideology, the Black Panthers and their fight for civil rights, or feminist movements and homosexual communities. Participation is a reflection of the commitment of the population who harbour life projects. Politically and socially diverse, there is one common goal, to rebel against the establishment, the conservatism of the State. Like these movements, contemporary creation privileges horizontal communication, ‘on equal terms’ as opposed to the vertical communication preferred by the academies of the Old Regime. Moreover, this artistic creation animated by the pixel, takes pleasure in escaping from the museum to roam around the city. The space invaders, small mosaics inspired by the eponymous video game that can be found in the streets of major cities, are the materialisation of a revolution in motion. The works take on a new dimension in the urban space with events like the ‘Bains numériques’ in Enghien or the ‘Nuit Blanche’ in Paris. Echoing this transformative process, Samuel Rousseau altered the façade of the Gaîté lyrique museum in 2003, presenting an un-

conventional video entitled ‘The Giant’. The projection is a subtle and striking coexistence of a Gulliver who has escaped from the manuscript of Jonathan Swift and the theatre that has become, for the occasion, a small house on the island of Lilliput. By playing with scale, the artist appropriates a simple idea to create a lively, grandiose show. A large number of contemporary artists are also challenging the codes and the hierarchical structure of information on our social networks. They call it Facebook Art, or Twitter Art. Julien Levesque, for example, puts a new spin on the pages from Myspace by giving them the monochrome treatment. His video on YouTube entitled ‘Most Viewed, All Time, All Category, All Language’ seduces or annoys internet users who are attracted by the catchy title. The video, that lasts for 1min 55 secs, plays in complete silence whilst displaying a close-up of a video button moving slowly across the screen. A sort of ready-made gag that Marcel Duchamp would probably have approved of. Shades of Leonardo da Vinci Helped by this revolution, Leonardo da Vinci, who never seems to be out of the news, makes a thunderous return to the front of the stage. The Ital-

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ian master, who cultivated a taste for painting, engineering and anatomy, brings renewed interest to an art and its modelling capabilities that are revealed through advanced technologies. Although he hasn’t definitely swapped the radiologist’s white coat for the digital palette, Rodolphe von Gombergh subscribes to the school of thought that believes art and science are one. In 1996, the Centre Georges Pompidou had even celebrated his work with an exhibition prosaically entitled ‘Before birth’. In one of the temples of contemporary art which stands on the site of what was once the underbelly of Paris, we discovered first hand the first known address common to all mankind. Since then, his works have been regularly hung on museum walls. They also aliment prestigious collections like the one belonging to patron François Pinault. In these creations where medical imagery has been appropriated for a different use, a large number of stars – or so we’re told – have exposed themselves to electromagnetic rays, carving up their brains carpaccio-style to discover the radiance of their other self, the resonance of their inner beauty. It has to be said, in this new kind of portrait, the medulla oblongata, the cerebellum, or the pituitary, are poor indicators for revealing the identity of those who succumb to the temptation

of an experience under the scanner after being injected with iodine. But after taking a closer look and thanks to a few indiscretions, we learn that Arman, Bernard Venet and Philippe Starck are party to such practices. However, one question remains. Do these works-messages compete with the posterity of a Fayum portrait or a Renaissance painting ? Everything hinges on the future relevance of the message, the artistic quality of the piece and its conservation. It will also depend on the collections that are being formed. One has to admit, despite some initiatives in this field, including the small town of Bourogne, the large French National Collections are extremely timid when it comes to acquisitions. Whereas abroad, ZKM and the Victoria and Albert Museum for example, have not been influenced by the market and have started to move in on these unknown territories by purchasing works. Open your eyes, the rise of the so-called digital natives could soon change all that… www.photomichaelwolf.com http : //datenform.de www.julienlevesque.net

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lifestyle m There will be a before and after the new Hotel du Marc according to Veuve Clicquot. Wonderful history, extraordinary pieces of design, by its own standards of absolute luxury this unique place exceeds any standard welcome by the great Champagne Houses. The gauntlet has been thrown downâ&#x20AC;&#x2030;!

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1. ‘Once Upon A dream’ by Mathieu Lehanneur at Hôtel du Marc, 2011 2. Vertical limit designed by Porsche design Studio, 2007

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When members of the Comité Colbert were invited to lunch at the Hotel du Marc in March, the smiles, reflected in glasses filled with the famous yellow Clicquot Champagne, became wider as the day progressed as they felt the thickness of the custom-made carpets and discovered the refinement of each detail in the house. A small, exclusive guided tour in a place that can only be discovered by invitation. The Hotel du Marc Despite its name, the Hotel du Marc is not a hotel in the strictest sense of the word, but a private place. ‘For friends, celebrities, the best clients, representatives of foreign countries, the press or even François Arnault, the son of the founder of LVMH and owner of Veuve Clicquot,’confides Olivier Livoir, official hospitality manager. Protected by high walls, the building was built in 1846 by Édouard Werlé who had received the land as a gift from Madame Clicquot to celebrate his new status as a partner in her business. It was subsequently bought from the heirs by the company in 1907. The interior designer Bruno Moinard, the new darling of luxury brands (Hermès, Cartier, Château Latour) has blended design with historical restoration to create an overall impression of a family property of aesthetes that is looking to the future without erasing the past. A live demonstration of French art de vivre. A visit imposes The traditional entrance with its screen of giant mirrors leads to a cosy library decorated with objects created by Hervé van der Straeten and an ostrich complete with a leather saddle and cap. This leads through to a living room furnished with large leather sofas, a pair of upholstered Louis XV armchairs, numerous comfortable cushions and throws –Madame Clicquot’s

step-father was a textile manufacturer – and contemporary photographs by German artist Karen Knorr adjacent to a painting dating back to 1880 signed by John Haberlé, depicting a bottle of Cliquot. A breakfast lounge furnished by Knoll and the large dining room in shades of black, enhanced with gold, retain their historic panelling. The walls of a bar cum games room, aptly named the ‘atelier’, are covered from floor to ceiling with translucent fridges filled with champagne that glows under neon lights and contemporary bright orange Louis XV-style chandeliers. On the first floor, at the top of a majestic staircase, a landing flooded with light exposes the painting of the widow and her daughter Clémentine whose name, according to legend, inspired the colour of the label filed in 1877, and the sublime bench by Reinoso, with its extended wooden slats that curl into wild swirls that pile up on top of each other to block a framed window. The corridor, punctuated with giant pictures of families placed on the floor against the walls lead to the room of ‘dreams,’ a space for the recuperation of sleep incorporating a form of chromotherapy invented by Mathieu Lehanneur, and five finely decorated bedrooms incorporating French woven bed linen, with ensuite bathrooms that feature grey mosaics and Carrara marble. All punctuated with lacquered designer furniture by Moinard to give the place an irresistible French touch. Throughout their stay, the guest takes in, in equal measures, the history of the House, the cultivation of the vines and the creation of champagne while they taste the different vintage champagnes. One leaves convinced of having met Barbe-Nicole Clicquot-Ponsardin in person. One of the jewels of the largest luxury group in the world manages to play down sales of millions of bottles around the world by promoting the idea of a familysized business as the main characteristic of the concept of luxury. www.veuve-clicquot.com

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TExT By LAURENCE PICOT

The public can ďŹ nally discover the projects of young designers inspired by the unique world of Louis XIII cognac. An opportunity to understand why this luxury Maison par excellence is seemingly so reluctant to use the same media strategies as its competitors.

cognac

design or not design ? It is difficult to imagine how anything of consequence could grow on this arid chalky soil. We’re on a strange 80 million-year-old Campanian geological layer, that is known for its Fine Champagne, the eaux de vie stemming from the heart of the region of Cognac. This is where vines bearing acid-rich grapes with low levels of alcohol have been growing for centuries. The antithesis of qualities essential for a remarkable wine… But ideal for eau de vie ! Man has a certain capacity to make the most of his surroundings and enhance the quality of what he produces.

production of our cognacs. This philosophy is incompatible with a succession of communication campaigns that promote a new pack and bottle each season. Even if this has been the prevailing trend over the last ten years for spirits.’ Thus, there has only been three limited series’ produced since 1874, each identical in form but encrusted with diamonds, or made from black crystal or iridescent silver. The cognac found in each bottle is voluntarily different than anything created previously, necessary aesthetic modifications to increase the prestige of the discoveries of cellar master Pierrette Trichet.

From the flask to the box Rémy Martin founded his eponymous company here in 1724. His jewel in the crown, the Louis XIII, was launched in 1874 by Paul Emile Rémy-Martin : a mysterious blend of 1200 different eaux de vie aged between 40 and 100 years. One of the world’s most expensive cognacs that has always been displayed in a Baccarat crystal decanter. According to legend, its form was inspired by a metal flask that was found on the site of the battle of Jarnac. To cut a long story short, the first Louis XIII bottle was designed a century before the word ‘design’ even existed. A precursor, the bottle and box has all the characteristics of a luxury product : history, elitist material, savoir-faire and originality. It remains almost identical to the original, apart from its blown glass stopper which has been cut and smoothed, the only concession to avoid damage during transport. Very few brands can boast of having such an icon.

Creative impulses The original iconic object, however, never failed to attract designers eager to renew the image. They have a chance to do just this by taking part in the annual competition organised by the Comité Colbert. The best projects submitted by design students are rewarded and usually never shown to the public. This year, Rémy Martin decided to share the creative enthusiasm of these young designers by producing the prototypes dreamt up for their most luxurious and historic cognac, and exhibiting them in the town of Cognac, the cradle of their savoir-faire. The initiative, called ‘Future Heritage,’ exhibits the dreams of eight apprentice designers from Central Saint Martins College of Art and Design in London and ENSAD 1 in Paris. From the ceremonial tasting of cognac-flavoured chocolate embedded in ice cubes to an inappropriate bottle-shaped pendant dangling between a pair of breasts, an eclectic display of ideas challenged the existing codes of the venerable Louis XIII. The fact that it does not change does not mean that it is not interested in creating fashion.

louis XIII Permanence of things ‘The design only makes sense if it exalts our product and its taste. It’s not an exercise in name dropping,’ says Caroline Lecarpentier, responsible for international communications for cognac at Rémy Martin, who goes on to explain why they are reluctant to modify the Louis XIII bottle decanter. ‘Time is our ally. We work over time, using the same scale as that of the

all im ages photo F. ami and

www.louis-xiii.com 1

ENSAD : French National School of Decorative Art

126-127 tl.mag #15 retail

TExT By LAURENCE PICOT

tendence

Messe Frankfurt hosts high-end trade fairs and exhibitions for the textile and interior design industry. Attracting approximately 52,000 visitors, Tendence occupies a strategic role in the market for consumer goods. TExT By LISE COIRIER

design preview 2.

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1. The Last Minute, collection of urns and objects, Patrycja domanska, 2011 2. Pottina & Pottone, plant pots, Paula Weise, 2012 3.

Tendence at Frankfurt Messe 2012

This year's show will take place from August 24 to 28. Despite the fact that the current economic climate continues to hinder some sales, there is a positive outlook on new products and developments. With over 2,000 exhibitors from 67 countries, the show, presented each year in Frankfurt, Germany, previews new winter products and trends for the following spring/summer seasons. Nicolette Naumann, Vice President of the consumer goods fair and also head of Ambiente, focuses this event around new products for the home and tableware. Winter 2012 revolves primarily around the Christmas holiday period whereas spring/summer 2013 reveals a variety of moderate trends. To spice up the interior spaces, there are also glass and ceramics set up close to the jewellery and upscale gifts, that lend particular focus to greater choice and prestige.

A platform for young designers

With thousands of buyers, Tendence also offers an exceptional platform for future talents, setting aside two halls for them to exhibit a selection of jewellery designs and products destined for interior design. Although the consumer still has an appetite for buying gifts for special occasions, it’s clear that their buying behaviour has changed. At a show like Tendence, you have to factor in the spontaneous buying patterns of young consumers with high incomes who are looking to satisfy their impulses, where the price isn’t necessarily a criteria for selection. It’s difficult to predict how large a part instinct plays in the buying process. In any case, retaining and promoting an ethical label of quality in Europe is the right way to go. It will encourage buyers to choose more consumer durable goods over superfluous ones. www.tendence.messefrankfurt.com

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