2014 MA DESIGN IS HUMAN

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nside this book 4 5

Architecture Tour 183

Colophon 179

Design is Material 141

Atlanta Design 115

Copenhagen 89

Eat & Drink 83

International Architecture 77

Film 72

International Design 47

MA Picks 18

Credits 15

Welcome 13

Calendar 5

6 7

7 MA Panel: Journeys & Paths 6:30pm-7:30pm Portfolio Center 125 Bennett St. NW Atlanta GA 30309 9

MA Design Expo, Design is Material Exhibit & Launch Event 6:30pm-11pm ADAC 351 Peachtree Hills Ave N.E. Atlanta, GA 30305 8

International designer Lakic speaks on design philosophies 6.

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Featuring: Brian Bell from bldgs, Bill Carpenter of Lightroom Studio, and Bryan Russell of Dencity 4.

Speakers: Susan Szenasy, Phil Freelon & David Rockwell 5.

7:30-10pm Roche Bobois 333 Buckhead Avenue Atlanta, GA 30308

6pm-9pm National Center Civil & Human Rights Ivan Allen Jr. Boulevard Atlanta, GA 30308

1pm-2pm ADAC 351 Peachtree Hills Ave N.E. Atlanta, GA 30305

Roche Bobois +Sacha Lakic Showroom Event

Discussion: National Center for Civil & Human Rights

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Panel: The Soul of Modern Architecture

5pm-6pm ADAC 351 Peachtree Hills Ave N.E. Atlanta, GA 30305

6:30pm-8:30pm Ligne Roset Atlanta 805 Peachtree Street NE, Atlanta, GA 30308

Join the discussion: “Why Should I Care About Original Design?” 3

Be Original +Ligne Roset Showroom event

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A day of CEU classes and workshops for design professionals ².

12pm-7:30pm ADAC 351 Peachtree Hills Ave N.E. Atlanta, GA 30305

MA Press Preview: Day of Design: MA Design CEU classes Expo +reception +Design is Material

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Join David Goodrowe, as he details the beautiful art of personalizing your home ¹.

6pm-8pm Room&Board 1170 Howell Mill Rd. NW, Atlanta, GA 30318

Room&Board Showroom Event

3 4 4 4

A Design is uman Week June 2014

8pm-9pm Tula Galleries 75 Bennett Street, Suite 02 Atlanta, GA 30309 10

Factory Girls “Formation: Expression”

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Three evenings of Aiaiai pop-up store and bar, talks and guest DJs 7.

5:30pm-1am Space 2/Sound Table 805 Peachtree Street NE Atlanta, GA 30308

AIAIAI + KILO collaboration with Soundtable

5-7

or visit modern-atlanta.org

Flip to our Architecture section,

Various Locations

Film: “25 Bis”

7 4:30pm-5:50pm Whitespace Gallery 814 Edgewood Ave NE, Atlanta, GA 30307

Satellite Tour: SCAD Museum of Art, Savannah, GA Saturday, May 31 & June 1st: 11am-4pm Atlanta: June 7 & 8th, 10am-4pm

The best in modern residential design. Self-guided.

MA Architecture Tour

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1. Room and Board Showroom Event 6pm-8pm.

Join David Goodrowe, cofounder of Goodrowe | Hobby, as he details the beautiful art of personalizing your home. With over 20 years of fashion and design experience, including regional director of stores for Bebe, Co-owner of David Rodriguez, a luxury women’s clothing company, and Associate Dean of Fashion and Building Arts at Savannah College of Art and Design, Goodrowe has an extensive understanding of the importance of personal branding and identifying your own design aesthetic to incorporate it into your home.

Having recently added real estate to his portfolio, Goodrowe’s holistic approach offers a full range of design and lifestyle services to meet the needs of home buyers, sellers and investors. Goodrowe’s aesthetic incorporations go hand-in-hand with Room & Board’s design philosophy and its focus on helping customers create homes they love.

Cocktails will be served at 6p.m. with David Goodrowe’s talk starting at 6:30p.m.

9. MA Panel: Journeys & Paths 6:30pm-7:30pm: Journeys &Paths is an inspiring panel discussion about challenges and paths to finding success and happiness; examining the individual journeys and experiences of young designers embarking on a career in the upper echelons in design thinking and creativity. Moderated

by Hank Richardson, President at the Portfolio Center, a highly renowned international school for creatives based in Atlanta, Georgia, J & P unveils design’s new voices and emerging creative talent, their unique stories, attitudes and critiques about

Design is Material: LG Hausys, NunoErin, Mohawk/Daltile, Arktura, PPG, Teknion, SPSU Materials Exhibit and 3D Printing Demonstrations

by Applied Software.

New Products from: SMFD, Chris Hardy Design, Roche Bobois, Ligne Roset, Bover Lighting, Illuminations, JP McChesney, Jay Gray Leather, Cord shoes, and many more.

Architect Models/exhibits

by Lightroom, Dencity, Philip Babb, bldgs, SPSU School of Architecture, and Cablik Enterprises Food & Drink on sale from Octane.

International Media Partner

International Media Partner

Media Partners

Media Partner

Atlanta

Partner

Partner

Atlanta

Official

Partner

Branding

Official

7pm-8pm: Featuring: MA Talks Panel Discussion with moderator Susan Szenasy of Metropolis Magazine, and Sacha Lakic, designer for many international brands including Roche Bobois and motorcycle company Voxan.

With Kevin Kane, designer for Arktura, and Chris Hardy, Atlanta industrial designer, working with Jens Risom and Design Within Reach.

Exhibitions include:

8. MA Design Expo, Design Is Material exhibit & MA Architecture Tour Launch Party.

6:30pm-11pm.

10pm: Aiaiai /Sound Table guest DJ: Stones Throw records DJ J-rock.

Visit thesoundtable.com for full event details and times.

7. June 7th AIAIAI+Kilo Copenhagen design collaboration with The Sound Table.

5:30pm-1am.

10pm: Aiaiai /Sound Table Guest DJ: DJ Kemit.

Visit thesoundtable.com for full event details and times.

The Sound Table.

5:30pm-1am.

Hospitality

7. June 6th AIAIAI+Kilo Copenhagen Design Collaboration With

7:30pm: AIAIAI+KILO talk moderated by The Sound Table’s Karl Injex & MA. Visit thesoundtable. com for full event details & times.

5:30pm: AIAIAI Pop-Up Store+Bar Holmris X-TABLE Launch & AIAIA Listening Stations.

AIAIAI Limited Edition “The Sound Table/MA” TMA-1 Headphones Launch.

7. June 5th AIAIAI + Kilo Copenhagen Design Collaboration with Space2/Sound Table 5:30pm-1am.

at an exclusive design event held by the brand at their new showroom, 333 Buckhead Ave. The showroom currently displays both new and iconic models from the designer, including the COCOON sofa + armchair, the SPOUTNIK chairs, TRINIDAD sofa, IMPACT sofa and more.

Lakic will speak at 8:30 p.m., a lecture with an emphasis on his design philosophies, most notably, “the extraordinary sensation of movement.”

Eat

6. Roche Bobois Showroom Event featuring designer Sacha Lakic 7:30pm-10pm.

Designer Sacha Lakic, known throughout the world for his innovative designs in the automotive, furniture, architecture and product design fields, and will be coming to Atlanta for the 2014 MA Design is Human Week.

The international designer, whose furniture works are featured in the design collections of Roche Bobois, will be the featured guest speaker

Center for Civil& Human Rights.

6pm-9pm.

Susan Szenasy & Architects Phil Freelon and David Rockwell Discussion: The National Center for Civil and Human Rights.

Architects Phil Freelon and architect/designer David Rockwell of the new National Center for Civil and Human Rights talk with Metropolis Magazine editor-in-chief Susan S. Szenasy about designing Atlanta’s elegant and newest cultural center, the thinking behind the building’s timely yet historically significant content, and how collaboration happens on a major project with a complex set of demands.

This is a ticketed event.

Seating is limited.

& Drink

5. Discussion: The

4. Panel: The Soul of Modern Architecture 1pm-2pm.

Three of Atlanta’s most talented and distinguished modern architects discuss how the soul of modern architecture manifests itself in surprising ways in their projects, their clients’ lives, and their own experiences.

Featuring: Bryan Bell from bldgs, Bill Carpenter of Lightroom Studio, and Bryan Russell of Dencity.

important interiors, we must ask ourselves, “Why is original design so important?” “Is it to protect the incomes of famous designers’ descendants?”

“Is it to support foundations?” “Is it snob appeal?”

We will dig into the subject of original design by examining the investment it needs, the creativity it fosters, and the products that remain endearing through time and fashion.

We will also explore ethical issues: “Copying is lazy; it is dishonest. Can we live with being dishonest?”

The manufacturers on the panel will talk about originality from the business point of view; the designers will explore aesthetics, material and formal invention as well as design legacy.

Official Automotive Partner

3. Be Original + Ligne Roset Showroom Event 6:30pm-8:30pm.

Moderated by: Susan S. Szenasy, Editor in Chief of Metropolis Magazine Panelists: Antoine Roset, Executive Vice President of Roset USA Corp.

Paolo Cravedi, Managing Director of Alessi N.A. and Thom Williams, President & CEO, ASD/ skydesign.

At a time when substitutes often show up

11am-12pm Lunch 12:15pm-1:15pm: LG Hausys CEU 1:30pm-2:30pm: Teknion CEU 2:45pm-3:45pm: Mohawk CEU 4pm–5pm Arktura CEU 5:15pm–6:15pm Applied Software, 3D Printing and Scanning Workshop 6:15pm: Cocktail Reception in MA Design Expo and DESIGN IS MATERIAL Exhibit at ADAC Visit modern-atlanta. org for full class descriptions+ registration. Spaces are limited.

2. MA Day of Design for Professionals: CEU Classes & Reception at the MA Design Expo at ADAC 12pm-7:30pm.

Calendar Continued

Before attending any event, please visit madesignishuman.com for updated dates, times, locations, RSVPs and details.

Tickets for the MA Architecture Tour can be purchased from ma-designishuman.com or at one of MA’s Atlanta ticket locations.

Admission is free to all events unless noted otherwise.

Psssssst!

10. Factory Girls presents: “Formation: Expression.”

8pm-9pm.

A gallery exhibition dedicated to our fashion incubator and our industrial manufacturing process will anchor runway shows for the fall presentations from Abbey Glass and Megan Huntz. This event will be a dialogue between process and product, and the delicate, intimate relationship between designers and the support system required to produce a commercial fashion collection.

design today, and their vision in shaping the future for the next generation.

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Ligne Roset

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mediums

emerging

a focus on

firm with

A design

This book is designed by

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Bernard McCoy Founding Partner at MA!

Design is about problem solving and process, On behalf of our amazing sponsors and the creation of beauty and desirable partners, welcome to 2014’s Design is artifacts that should last, as well as Human Week, Design Is Material, and the MA the responsibility of improving how we live Architecture Tour. We have a fantastic and care for the planet for future lineup, an impressive roster of design generations. However, the real beauty in luminaries excited to meet you, and design is emotional and philosophical; —to influence that next design decision it is not only what you see but also, —some of the best international exhibitors most importantly, what you feel. on the planet. We look forward to seeing This is MA’s journey, and it is yours too. you in and around Atlanta.

Doesn’t everybody want to live life to its fullest? We want more freedom to do the things that matter most: to enjoy family and friends, have a good laugh, travel —to seek adventure and knowledge, eat healthy food and breathe clean air.

We want a satisfying career and to be generally happy. All of these things are directly or indirectly affected by design.

We look forward to seeing you

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John Cantrell, Steven Chan, Steven Heller,

Fredrik Brauer, Andrew Thomas Lee, Asa McCoy & Jason Travis Photographers

Amanda Altmark Production Manager

Alexandra Rancier & Farbod Kokabi Graphic Designers

Acree Macam Senior Editor

Matteo Caimi Architecture & Interiors Director

Stefรกn Kjartansson Design Director

Elayne DeLeo Cofounder & Event Director

Bernard McCoy Editor-In-Chief & Founder of MA

This book is made in Atlanta by

Jessica Steele-Hardin Personal Assistant and Exhibition Designer

Diane Hewitt Architecture Tour Concierge

Jonathan Davis Gould Volunteer Coordinator

SOAP Goods Creative Public Relations

Nancy Morris Business Developer

Karl Injex, Larry Luk & Krystal Persaud Contributing Writers

Dashboard Co-op Artists 18

Most excitin produc design

Product: Second Skin

We tracked down the most exciting product designs from the past year, just for you

Designer: Imme van der Haak The Second Skin tote bag is 100% natural leather and was handmade in London.

Born and raised in the Netherlands, designer Imme van der Haak strives to question and challenge our perception of what is normal by focusing on everyday items that we might take for granted. Her work is playful yet subtle in its approach. immervanderaak.nl Photographer: Kat Green

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t ng ct n

Product:

Product:

Bike Collection

Tallow

Designer:

Designer:

Tracey Neuls

Ontwerpduo

London-based shoe designer Tracey

Tallow is a series of hand-casted candles

Neuls has launched a fashionable

made in Ontwerpduo’s Eindhoven studio.

footwear collection aimed at female

The raw materials are weighed, melted,

bikers. For improved visibility, Neuls

mixed and poured, one at a time. After a

added a reflective patch attached to the

cooling period of two hours, the candles

heel and rubber soles molded into one

are taken from the mold and finished,

piece for a comfortable fit against the

using a manual process to ensure the

bike pedal—all without comprising style.

highest quality.

Nominated for Designs of the Year 2014. ontwerpduo.nl traceyneuls.com

Product: Drawing Series Designer: Jinil Park “Drawing” is a series of furniture translated from 2D sketches using thin wires. Unlike most furniture, the designs are not “perfect” and maintain intentional moments of distortion that are true to the original drawings. Together the thin wires make cohesive, sturdy objects, strong enough to

Product: Naïve Tableware Designer:

hold people and their belongings.

Vanja Bazdulj

jinilpark.com

The Naïve Series is a growing collection

Product:

of handmade tableware in clay, inspired

Mk1

by the sketches on the walls of urban landscapes. On these simple, raw cups,

Designer:

Vanja has left behind her own doodles.

Butchers & Bicycles

The tableware is created by slab building, which means folding flat clay slabs into

A cargo bike that is fun to ride. On the

3d objects. Its roughness represents the

Mk1, the rider leans into the turn in the

designer’s search for beauty in texture and

same way as on a two-wheeled bike. The

the imperfect.

Mk1 embodies the lightness and stability

vanjabazdulj.com

without compromising safety, even at high

that cyclists know from regular bikes, speeds. butchersandbicycles.com Product: Light Forest Designer: Ontwerpduo Description: Light Forest is a wall and ceiling lighting system with endless possibilities. The system consists of several components attached to the wall and ceiling, making it possible to place one or more lights exactly where the light source is needed.

Light Forest fits small and large spaces, high and low areas. ontwerpduo.nl 20

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Bulbul is a contemporary Danish watch brand.

We work with cherry picked creatives that represent the best of today’s generation of designers.

Style can’t be mass-produced... theinouebrothers.net 24

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www.bulbul.dk

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S:8”

THE BRITISH REINVASION STARTS NOW.

With a mini twinpower turbo engine, a brilliantly reimagined interior and optional lED headlights, the new mini hardtop is something you’ll want to check out posthaste.

The Biomega

NYC B:13”

S:11.75”

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The New MINI. The New Original. the atlanta mini Dealers are proud sponsors of Design is human Week 2014.

Global imports mini

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Inspired by the work of leading street artists unique art, Street Thread employs bold geometric and gradient shapes to create a distinctly urban, modern aesthetic.

EVIVA AT 811 PEACHTREE STREET Designed in partnership with Integral Development.

Targeting LEED 速 Gold Certification. Coming in 2015.

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Photo: Michel Gibert. Special Thanks: Artipelag, Stockholm, Sweden - TASCHEN - « Ours Polaire» sculpture, 2012, Gilles Cenazandotti - Cole & Son wallpaper - www.aufildescouleurs.com. *Conditions apply, ask your store for more details.

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Show off Bernard McCoy visits 100% Design, MADE, Tent & Super Brands with his twelveyear-old daughter in tow

Scene outisde TENT and SUPER BRANDS London 47

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w

100% Design Magis

is the UK’s largest trade event. Its more than 27,000 visitors include architects, interior designers, retailers and furniture designers.

The biggest event during the London Design Festival, it expects to grow its numbers to 30,000 attendants in 2014.

Photography by Bernard McCoy

Boss Design 49

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MADE

(Milano Architettura Design Edilizia), held in Milan, Italy each year, calls itself “a privileged meeting platform for manufacturers, architects, designers, building contractors and building construction professionals.�

Interni Pavilion

Inalco Florim

MADE Expo focuses on the built environment, emphasizing materials over furniture, but also featuring a variety of flooring, tiles, and even agriculture.

MA visited to get a sense of what was happening with materials on a global scale.

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Two more fixtures of the London Design Festival,

Tent London Super Brands London &

Gubi

Naber Kitchen

have carved out a reputation as the most creative hubs anchoring the festival.

Beacons for anyone looking to discover the best in contemporary design, they seek to be constantly evolving and always thought-provoking.

Gubi Ginger & Jagger

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Not your typical kitchen

The next step was focusing on the commercial

done. On one hand, it was exhausting,

designed multiple-awarded products for

aspect of selling Concept Kitchen. We had

but on the other hand, it was an amazing

Naber commissions Killian Schindler to design a kitchen that liberates its surrounding space to be whatever you want it to be

Since 2009, Killian Schindler has

internationally renowned clients such as

created a system that is of course able to

adventure. It was fun working with a terrific

Rosenthal, Schönbuch and DePadova. He

be a kitchen, but has some built-in flexibility

client to design something new yet familiar in

recently completed a commission for Naber

that makes it useful as furniture for an office,

some way. I also enjoyed very much working

GmbH, one of the leading kitchen accessories

carpentry, storage, or other suitable uses.

with Tolix. At the end of the day, I enjoy

specialists in Europe, called the Concept

MA: I noticed in the brochure how

encouraging people to use and do what they want with Concept Kitchen, but under their

Kitchen. He lives and works in Karlsruhe,

the layout seems to visually direct the

Germany.

leader to some of the options you

described.

MA: Can you describe the collaboration

KS: I attended HFG-Karlsruhe, which

KS: It is very important to make a statement

with Tolix?

works with different well-known

about how the system can change. The user

KS: Before Tolix, the project had worked

designers who serve as professors

makes the decisions about how much kitchen

with five other manufacturers. I’m not an

MA: How did you get started in design?

and mentors. Students are faced with

is desired and which aspect of the kitchen

engineer and this was an important aspect

many different design approaches and

takes priority. Concept Kitchen liberates the

of the design, so the problem with working with them was due to my lack of engineering

real world challenges.

house and lets people listen to their hearts

MA: After HFG-Karlsruhe, you went

and personalize based on need.

knowledge and their lack of talent specific

on to study in Paris. What drew you

to the project. My main contribution was in

back home?

can limit use in an optimal way, but Concept

the design, concept and sensitivity. Those first

Kitchen isn’t intended to replace fixed

prototypes were not as simple and detailed,

it’s so boring, I am able to remain very

kitchens. Think of Concept Kitchen being

thus not as beautiful. The response from the

focused. I assure you every evening in

part of that environment. It does not matter

manufacturers was that it was not possible to

Paris there is an interesting opening.

whether or not Concept Kitchen is used

achieve the result I desired; or that designers

MA: How did you become involved

exclusively or with parts of the fixed kitchen.

act more like artists and working with metal

in designing the Concept Kitchen?

It is really important to me to say that even

in this way is difficult if not impossible to

though Concept Kitchen is an open structure,

do. Tolix was totally a terrific fit for Concept

Naber had observed and read articles about

the user does not have to change to an

Kitchen.

me and thought it might be a good idea to

open structure. The point is that the open

MA: When I first saw Concept

work with a young designer and breathe new

architecture is one of flexibility and not being

Kitchen, I was really impressed with

life into the kitchen business. Naber is really

fixed like kitchens today. It is not for everyone,

the minimalism, detail and

influential in the industry and the world, and

but then it could be for everyone.

innovation. Who is the intended

that was one of the reasons I was interested in

MA: Tell me about the practical

market or demographic?

working with them.

side to Concept Kitchen.

KS: It was originally designed for young,

KS: In my opinion, it is really not healthy

The owners were well-informed about

55

urban, and mobile people whose careers may

design and interested in doing a good project

how advertising is promoting the kitchen.

result in them living in cities. It seemed we

beyond showcasing just one time. I was

What you see is kitchens and not in a realistic

were a bit naive because we were surprised

given huge financial resources and support to

way, in that only a small percentage of rich

to see so many older people, so many chic

people can afford a kitchen of eighty square

people, so many urban hipsters, so many

MA: Is the market version of Concept

meters consisting of one kitchen island, and

students as well, all interested in Concept

Kitchen true to the original design?

everything is equipped with luxury appliances.

Kitchen. I learned it is old fashioned to

KS: The concept has not ended and is still

This is just not realistic for so many people in

think a product like Concept Kitchen can

research the kitchen and kitchen industry.

Photography courtesy Naber

I can understand how kitchens today

KS: I felt more productive here. Because

KS: The owners at the German company

Concept Kitchen designer Killian Schindler at Tolix factory in France

terms.

evolving. We started with the idea for an

cities who have limited space. So Concept

be categorized only to a specific group. We

open structure kitchen easy to dismantle and

Kitchen makes the kitchen more honest

are about to showcase Concept Kitchen in

easy to install. This was the brief presented

and practical, just like how people live. Our

Shanghai and then in Copenhagen. But for

to me. My job was to achieve good quality

images clearly demonstrate these extremes,

me, it is all the same because we are in a new

and to push the project and this new brand

where one household may live chaotically, yet

age where everything is totally global. People are more transient than ever but really don’t

being created by Naber. I put myself at the

another life is centered around order.

lead for creative direction and art direction

MA: How much fun did you have

change the dynamics of their living space that

for marketing. I also became responsible for

designing Concept Kitchen?

often, like magazines would lead you to believe.

selecting the supplier and manufacturer, Tolix.

KS: This is one of the biggest projects I’ve

Concept Kitchen for Naber Photography courtesy Naber 56

Concept Kitchen makes the kitchen more honest and practical

Kate Moss’s favorite app, a floating

school in a Nigerian lagoon, a friendly lamp

disruptive effect of crowd-funding sites such as Kickstarter. More than ever, designers are

post, a virtual mountain rescue team and a

seeking to blur boundaries between the digital

recoiling mudguard for the discerning cyclist

and physical worlds with new ideas—like the

are just a few of the nominations for Designs

calendar made of Lego that syncs with your

of the Year 2014.

computer or phone diary and the fire alarm

Designs of the Year gathers a year

that texts to let you know everything is OK.

of cutting-edge innovation and original

talent—showcasing the very best in global

the Visitor Vote will return, allowing visitors

architecture, digital, fashion, furniture, graphic,

to the Design Museum to pick their favorite

product and transportation design.

design from the exhibition. New for 2014 is

the Social Vote, which sees two nominations

The nominees for 2014 include

After the success of its first outing in 2013,

international design stars such as Zaha

fight it out each day through the exhibition’s

Hadid, John Pawson, Stephen Jones, David

online Social Vote platform. Broadcast to

Chipperfield and Miuccia Prada, alongside

over one million of the Design Museum’s

crowd-funded start-ups and student projects.

Twitter and Facebook followers, the Social

All of the nominated designs go on display at

Vote allows people from all over the world to

the Design Museum, in an exhibition open

participate in Designs of the Year 2014.

from March 26th to August 25th, 2014. A

distinguished panel of experts will choose a

the mobile phone you can build yourself, the

The gaming app that outlives its player,

winner from each category and one overall

bottle caps that turn into building blocks—one

winner, to be announced later in the year.

day, the other museums will be showing this stuff.

Designs of the Year pits the ingeniously amusing against the admirably innovative.

The Dumb Ways To Die app features cute characters who meet increasingly grisly ends, accompanied by an insanely catchy tune,

MA Nomination

ME.WE: Forward-thinking car Designed by Massaud & Toyota ED2

while the PEEK Portable Eye Examination Kit harnesses smart phone technology to revolutionize eye care in developing countries.

The broad reach of the competition

allows for an overview of emerging trends

Photograph Small Dots Product Category: Transportation

Renowned French architect and designer

Nominated: Bernard McCoy, Founder & Partner

Jean-Marie Massaud’s ME.WE concept,

at MA

produced in collaboration with Toyota’s ED2

and common themes from across different

London’s Design Museum showcases the 2014 Designs of the Year.

Exhibition runs March 26 to August 25 2014

design disciplines. This year the ubiquity of the smart phone is particularly apparent, as is the

design studio in southern France, undoubtedly elevates Toyota’s vision in electric transport. In ME.WE, Massaud’s unique design approach is as much about the perils of opulence and living outside our means as it is about beauty, adaptability and innovation. I especially appreciate how Massaud brings his love of furniture design and craftsmanship to ME.WE. His extended use of new premium materials like bamboo creates a sustainable yet desirable, and more humanistic, alternative to industry tradition.

—Bernard McCoy

IRO Jo Nagasaka for Established & Sons Photograph

by Colin Streater 57

One da other museum will sho this stu

58

ay, r ms ow uff

Frac Centre - Les Turbulences

Metro Trains - Dumb Ways To Die Designed by McCann Melbourne,

Designed by Jakob + MacFarlane

Image by McCann Melbourne

Photo by Nicolas Borel The Gourmand - A food and culture journal

LEGO calendar

Created by David Lane (Creative Director), Marina Tweed & David Lane (Founders/ Editors-in-chief) Photo by The Gourmand

LEGO Calendar

Grand-Central

Designed by Adrian Westaway, Clara

Designed by Thibault Brevet

Gaggero, Duncan Fitzsimons, Simon

Photo by Thibault Brevet

Emberton Photograph by Adrian Westaway

Interior for UN North Delegates’ Lounge Designed by Hella Jongerius, together with Rem Koolhaas, Irma Boom, Gabriel Lester & Louise Schouwenberg Photograph by Frank Oudeman FRAC NORD-PAS DE CALAIS, DUNKERQUE Designed by Anne Lacaton & Jean Philippe Vassal Photo by Philippe Ruault Façade for Paul Smith.

Albemarle Street, Mayfair, London.

Design and photo by 6A Architects.

59

60

Don’t try to be the

MA’s Elayne DeLeo interviews Brian Burton, aka Danger Mouse, about the making of his music

cool records had been made. It was kind of

MA: Do you try to go back there when

producer Danger Mouse) has been compared

a destination, in the woods really, and that’s

you are in Georgia?

to movie directors because of his ability to

where they wanted to record. I didn’t know

BB: Yes, I was there all day yesterday. The city

create different worlds. Consider his work

them very well, and I wanted to work with

looked completely empty, but of course, there

with Gorillaz, Gnarls Barkley, The Black Keys,

them, so I grabbed my stuff, booked a hotel

was the one thing that everybody’s doing, one

Broken Bells, director David Lynch and the

close by and we recorded everything there.

show in town that night, and everyone was

upcoming release with U2, the music leans

Not the most enjoyable thing, but it provided

there, and all the people I used to see. That’s

cinematic—an auditory experience that

a definite focus. We got the record done in

cool. It just really gives me the idea of what

creates a sense of place and atmosphere.

twelve days, I think. The guys had something

made me want to do this in the first place. It’s

specific in mind. It wasn’t my choice, but it

inspiring. So, it makes me want to go to back

band Broken Bells (founded with James

turned out to be the right one. It’s got the

more.

Mercer of The Shins), Brian spoke with MA

sound we were looking for; we got what we

MA: With “Dark Night of the Soul,”

co-founder Elayne DeLeo about the places

needed.

your collaboration with director David

Brian Burton (aka, multi-award winning

On his way through Atlanta with his

he prefers to live, work and record music; the

Lynch, you explored the pairing of

importance of a bed in his early days; and

we record. I always prefer [for] people to

music with the visual image. You’ve

where it all began for him, Athens, GA.

come to me and work in my studio. That

recently shown some of your own

MA: A little background, Brian. MA

doesn’t always happen, but recently I’ve been

photography as well. Is this something

places a strong focus on the process

able to do the majority of work in my own

you want to do more of?

behind the design—how people create

space. For a long time I had a really small

BB: I don’t pretend to be a professional

and the development of ideas about

studio and that’s because of the geography. It

or anything like that. I do take a lot of

modern living, design and structure.

was near restaurants and bars, places to go.

photographs and mostly they are just for me.

I thought we could talk about the

It was a converted lawyer’s office, not really

In some way I guess I’m very visual with how

importance of your environment when

the best for recording, but a place that I didn’t

I work anyway, so it was just kind of a natural

you’re creating music and recording

mind going to and… bang, bang, bang…

progression and I have been doing a lot more

records. Are there spaces that you like

work. I had that place for about eight years,

of it. I did some stuff for Broken Bells as well

to work—in your home, in different

then moved to another studio that’s a little

and I showed some of that in New York but,

studios—that you find inspiring?

more professional but still a more relaxing

we’ll see. I think I’ve got to get better work

BB: When I first started doing music, I worked

vibe and not in an industrial area.

and then I’ll show at some point. But I do

in a dorm room and I always had a bed

MA: Are you living in LA to make music

enjoy it, especially taking photos of people.

nearby; it was just behind me in the room. I

or is it the other way around?

always felt comfortable if there was a bed in

BB: I think this is the complete opposite for

Broken Bells members James Mercer

& Danger Mouse®

Photography: James Minchin

61

MA: Have you photographed any places or buildings?

the room. It meant I could just go to sleep

me. Because usually when I am working with

BB: I look up a lot of architecture articles and

whenever I was done. I did that for a long

someone, I go to them. I went to Nashville

photos, and in LA there’s a lot of great stuff

time and I always worked with a bed, so, for

when I was working with The Black Keys and

going on. There are a lot of people trying

years, and years, and years, even when I got

with U2 I’ve been working with them on an

to preserve the historical modern houses

my house in California and had a studio, I

island. Sometimes when I’m making a record,

because people are buying them and then

it ends up being just me. They have their own

refitting them to fit a newer ideal, but they’re

would put a bed in there so I could go to

next big thing

Other times I have a choice for where

sleep if I wanted to. I didn’t go to work in a

lives. They have their own families. They have

messing them up. I don’t know much about

traditional studio; I just worked in smaller

to leave to go to work and then they come

what’s happening in Atlanta. I’m assuming a

environments, and that was only when I was

back for me. I get there, go back to the studio,

similar thing is occurring, but it’s a completely

working by myself. But then all that changed.

go to work, go back to the hotel room, and

different style, isn’t it?

Once I started working with other people, it

the rest of the time I am by myself.

MA: It is different. Most buildings are

became less about my personal preference.

traditional. Atlanta is starting to become

The industrial areas that house a lot of studios

of recording because I’m kind of a one-man

always kind of bothered me. I didn’t like the

I tend to be a lot more isolated in terms

operation. It doesn’t seem to change so much,

a more modern city, but it’s taking time.

BB: I would like to live in a modern home,

way they looked. Even when I was just driving

the actual process. It makes me say, “I’m not

but right now I’m in something more

in on the way to a studio, these industrial

going to do it again,” but I’m going to do it

Mediterranean. I’ll get there one day.

areas where the buildings are all the same

again anyway. [Laughs].

just bothers the hell out of me. I felt like I was

going through the middle of nowhere. I like

to find the more I work in another location,

For me I prefer to be at home. I tend

being able to get out of the studio any time I

the more I want to go home afterwards. The

need to, or just walk around and be around

harder and longer I work, it wears me down.

other things, like going to a grocery store or to

So, when I’m at home it’s a little easier.

a coffee shop.

MA: Is there a city or a place that you’ve

MA: Prior to the advent of digital, when

been to that inspired you in some way,

you can make a record anywhere, bands

whether it is environment, or just the

would go to Electric Ladyland; the Stones went to Nellcôte in France to

feeling of being there?

BB: The place that was the most inspiring for

record “Exile on Main Street.” It was all

me, and is still, is Athens, Georgia. Just being

about the vibe and feeling of the space.

there brings back memories. Seeing the signs

Do you work with bands that want a

in town for whatever band is playing just

specific environment when recording?

reminds me of why I wanted to make music

BB: On the first Black Keys record, they

when I first started. It’s a place where people

really wanted to work in a studio they found

are there for the music; they’re not trying to

in Ohio—the middle of nowhere—called

be the next big thing. It’s very inspiring in that

Zanesville. There’s just really nothing there.

way. It just kind of reminds you, “Oh yeah,

They found this old studio where a bunch of

you just like to create and make stuff.”

62

The place that is the most inspiring to me is Athens, Georgia

Repetition is boring Laurence Salmon talks with Inga Sempé about a “jamaisvu” sofa design for Ligne Roset

Ruché sofa by Inga Sempé for Ligne Roset 63

64

interested in my analogdigital clock. He

mutual exchange with all members of the

cannot conceive of designing a sofa of such

who graduated from Ensciles Ateliers, Paris,

had also seen my other projects for Italian

team.

quality without making it comfortable: That, I

Ensci, we were not allowed to work on pieces

where she studied industrial design. Her

producers, Cappellini and Edra. It was as

LS: Is it an advantage that Michel

would consider to be a failure.

of furniture. Therefore, the technical solutions

practical rigor and poetic nature leave a

a result of this that Ligne Roset went on to

Roset plays the role of artistic director?

LS: Technical questions do not scare

I dream up for the padding are rarely the right

stamp on her designs that the French might

produce my Lunatique pedestal table and

IS: Michel Roset knows how to gauge the

you, quite the opposite. You

ones. This is one area in which Ligne Roset

call, “jamais-vu,” which translates to, “never

Lampyre light.

potential of a piece from a sketch, however

have spent quite a lot of time in the

possesses such knowledge and skill that it is a

before seen.” The Ruché sofa, her latest

LS: What does the Roset Group mean

clumsy the latter might be. This is becoming

Roset factory.

offering for Ligne Roset, shows why. Inga

to a French designer?

quite a rare quality. I like family businesses

IS: I come to Briord each time there is a

Inga Sempé is a young French designer

IS: When I was studying industrial design at

real pleasure to be able to experiment in their workshops. On the other hand I have been

talks to Laurence Salmon about her design

IS: The only French company with which one

because everything is centralized. It’s the

prototype to validate. Ironically, this is also

using stitching for a very long time so I am

perspective, what it’s like working with Ligne

can work.

same scenario at Luce Plan in Italy, or

quite a tricky moment. It is difficult to pinpoint

very familiar with the various techniques. My

Roset.

Wästberg in Sweden.

exactly what it is that is not quite right on a

assistant and I carried out numerous trials on

of working with Roset singular when

LS: Ruché is your second sofa for

piece that has been made to your own design.

our basic sewing machine in order to find a

definitive, simple response to why she

compared to what you found in Italy,

Ligne Roset.

The R & D department expects responses

truly singular form of quilting, which was then

became a designer. She is scathing on the

for example?

IS: To repeat oneself is to risk boredom. Moël

from me, or solutions. The task of finalizing

transcribed to the digital sewing machine in

subject of the media, which gives, she says,

IS: Most Italian companies do not have a

is a reinterpretation of an all-foam model

a piece centers on details, tiny sections,

Briord. The result is this thick duvet, a kind of

an entirely false idea of her profession by

true industrial capability. When I worked

designed by Michel Ducaroy in the 1970s.

imagining what they might bring to the piece

boutis stitch made from a complex cross-

treating designers like rock stars. She rejects

with Cappellini, I had to do a lot of the

Conversely, Ruché is raised from the ground

as a whole, once put into effect.

hatching of interrupted seams, which appears

“I love objects,” says Inga Sempé, in a

LS: In what way is your experience

this artificial kind of design in favor of the

groundwork myself before my lights could go

with a slim solid beech structure. More

LS: The textile side of this project

to have been laid over the structure. The

useful, ingenious type, which offers up elegant

into production. With Roset, it is completely

compact, it is designed for smaller spaces.

required much experimentation…

name Ruché evokes this sewing technique,

solutions for everyday life.

different and there is a real openness and

Despite appearances, Ruché is very soft. I just

LS: Could you have followed any

career path other than that of a

I find discussion about design tiresome

designer?

IS: A screenwriter. But, having said that, I could never shoot a film because I don’t like working in large teams. The idea of telling stories only interests me in the cinema.

LS: Does that mean that your pieces

don’t tell stories then?

IS: No. I find any type of discussion about design tiresome. The only thing that interests me is designing—with quality foremost in my mind—pieces that are then sold.

LS: The art gallery as an

experimentation space for the

which consists of making gathers by passing a

designer: does this interest you at all?

thread along a ribbon.

IS: Many designers are ashamed to design

LS: You were very insistent with

objects. They display their pieces in a gallery

Michel Roset that Ruché must be

because the location seems a little nobler in

offered in natural beech and in

their eyes. They find a form of recognition

anthracite, red or blue-stained wood.

there, a “way in” to a museum collection.

What arguments did you use to

Personally, I like objects because they form

convince him?

part of everyday life. Experimentation is

IS: Well, we can never have pale-toned wood

justified within an industrial framework, in

à la Ikea! On the contrary, this would be to

relation to a tool or a market.

turn one’s back on all the knowledge and

LS: As a lover of design objects, which

skill of Ligne Roset. I like to see the natural

ones do you like best?

colorations of the various species of wood

IS: I love umbrellas, even though I never

brought to the forefront.

use one myself. An umbrella as a design

LS: Does the subject of the

object fascinates me with the spectacular

environment cross your mind to

transformation brought about by its

any great extent?

mechanism, an alliance of fabric and metal.

IS: I think one overestimates the role of

LS: Did you know that Antoine

designers in such matters. I’ve had quite

Roset, the grandfather of Pierre and

enough of reading about all these people who devise “clean” design objects. It’s very easy to

Michel, ran a factory producing

wooden umbrella handles… a

promote great aesthetic qualities. Personally I

sign of destiny! The move towards

claim only that the law is far from favorable to

metal umbrella handles pushed him

eco-design. I am not in a position to impose

into abandoning this course and

rules to change this, since I am the smallest

moving into producing wooden

cog in the wheel in terms of the industry as a

chairs.

whole.

IS: No, I didn’t know that.

LS: Do you feel that you are fulfilling

LS: Do you remember your first

your destiny?

meeting with Michel Roset?

IS: I never dreamed that I would be designing

IS: I think it was in 2000, in the aisles of the

furniture—telephones maybe, or handles,

Salon du Meuble, Paris. He is talkative like

screws or bulbs! I always preferred hardware

me and we chatted for a long time. He was

stores and chemists to interior design stores.

65

66

The grid can be felt witho being se 67

68

Karl Injex talks discernment with graphic design notable Michael CIna

Michael Cina is an art-director, typographer and visual artist based in Minneapolis, Minnesota.

His design agency, Cina & Associates, boasts a client list that includes Facebook, Disney, Coca-Cola, ESPN and more.

e out een

KI: It can be argued that you are as

KI: That intuitive process of discovery

MC: I was in design school, and it was

voracious a record collector as you are

feeds back into the metaphor of

very boring. I was being taught the more

a prodigious and accomplished graphic

digging for records. As you and I have

corporate angle of design, which was stifling.

designer. What keeps you digging?

both found, you start out with your

I heard a couple of speakers, Gert Dumbar

MC: Everyone has their own way of

milestones (pun intended), your Miles

and Dana Arnett, who presented design as

decompressing, and for me record shopping

and your Coltrane for example, and

something playful and fun. The work that

is a great way to relax. It’s part social, part

work your way in deeper. To take

Designers Republic had done for Warp

finding hidden treasures or things that I’ve

nothing away from these greats, you do

Records demonstrated this idea, and that’s

been after for a while. It’s stress relief.

find that they themselves are standing

where the dots started connecting for me.

on the shoulders of the lesser-known giants that influenced them, and

huge for me. In fact, that’s where I

intel, even if I’m just browsing the stacks.

so on. The lineage begins to take

started paying attention to record sleeve

MC: Exactly. I find myself reading the liner

shape. And I’d say the same is true for

design. The conceptual freedom of those classic rock sleeves was mind-

notes, saying to myself, “So this guy played

design. Fortunately, there are nearly

drums on a record I love, let me check his solo

inexhaustible layers, so you’re never

stuff.” It’s all about connecting the dots.

gonna look down at your desk and say,

KI: And how they’re laid out on the grid.

Our friendship/collaboration began with

69

He sat down to talk with Atlanta’s restaurateurslash-DJ Karl Injex about record shopping, typography and the relationship between whiskey and design.

“Oh man, the last great design book.”

MC: Right. I think that great designers share

blowing.

MC: Led Zeppelin’s Presence was the first sleeve I really studied. It was abstract and perplexing. You got the feeling that there was

a common love for jazz and soul records.

an appetite for detail. It’s about being aware

more going on than just a record cover. I

In fact it was a specific record you’d

of the details, and having a sense for quality,

think that’s what drew me in.

asked me about, I’m Always Dancing to

having a taste for great design.

KI: There’s something visually appealing about the naturally gridded look of a

the Music. At the time, you were heavy

KI: Which is true of music, and of

into your typography and consultancy,

another passion you and I share:

well-populated record shelf. The grid

You Work For Them. Tell me how that

whiskey.

also plays a crucial role in the design

originated.

Cina is also the founder of the online designer resource, YouWorkForThem, and an abstract artist who has been featured

by Pantone.

KI: Hipgnosis’s Pink Floyd covers were

KI: It’s definitely therapeutic, I agree. I always seem to pick up some new bit of

MC: I had a type foundry, along with my two partners Mike Desmond and Joe Krall, called Test Pilot Collective. In the late ‘90s I decided

MC: It’s about being a connoisseur—of design,

process for you. You seem to deal with it in a very specific way, though, deploying

of wine, of whiskey.

KI: The details require discernment.

MC: Yeah, I think I approach design the same

your own grid language. Tell me about that.

MC: When I first discovered grid systems, I

I wanted to do my own thing. I started We

way I do tasting whiskey. What is it about

Work For Them, a design agency, doing

this whiskey, or this design, that appeals to

became almost enslaved by the concept.

client work. As a way to generate additional

me? What aromas, flavors can I detect? Is it

I lean that way naturally, though. I’m an

revenue, I launched YWFT as a vehicle to

spicy? Is it sweet? Once you lock into these

organizer. I love order and I love alignment.

sell my typefaces. At the time, I was importing

details, you can really get into the process of

I’m actually straightening out my bookshelf

hard-to-source design books from Holland

discernment.

while we’re talking. It can, however, become

and Germany, selling them wholesale to my

KI: Often those who develop a high

too rigorous. There was a time in the early

friends. We put up a few for sale on the site,

level of discernment in one area apply

2000s where I made a kind of conscious

Müller-Brockmann’s Grid Systems and Emil

it to other pursuits. It seems that the

break from the grid, playing off tangents of it

Ruder’s Typographie. I had like 20 copies, and

rules of discernment are somewhat

rather than directly with it. I see things a bit

thought, “These will take a couple of months

transferable.

differently, and I approach organizing space

to sell; it’ll be interesting to see what happens.”

MC: And there’s also the appreciation of rarity.

with an awareness of the grid, but without

KI: So true. In this endlessly replicable

locking into it. The grid can be felt without

KI: So the demand for these design

world, the finite nature of a record, a

being seen.

books, you discovered, was fairly robust.

bottle of wine or whiskey, or a weighty

KI: Which brings it back to the

Müller-Brockmann and Ruder are

design book has the appeal of being

relationship between design and

definitely at the foundation of modern

singular. So much so, in fact, it seems

music. For both designer and musician,

design and typography, so it’s not

that we’re living in an age of forced

evolution is crucial. Formulas are

surprising they’d be so sought after, but

rarity.

anathema to the creative mind.

They sold out in a couple of hours.

what about the more esoteric designers?

MC: I think the difference is that back in the

MC: Exactly. That reminds me of my favorite

MC: Interestingly, but not surprisingly, people

day, people like Patrick Adams and Leroy

Miles Davis quote. When asked why he

like Karel Martens who weren’t widely known

Burgess were not launching labels with the

stopped doing ballads, arguably one of the

then, were a tough sell. We had 40 copies of

intention of creating rarified records for

hardest song forms to master, he responded

the Martens book, which we could barely get

connoisseurs. On the contrary, they were

simply, “Too easy.”

rid of at wholesale. Now, you can’t touch it

going for big numbers. But as the natural

for less than $500. I was interested in carrying

order would have it, records like Barely

books by people like Jost Hochuli and Joost

Breaking Even and Flying High appealed to a

Grootens, amazing designers that were not on

smaller, more focused audience, becoming

the radar for most people. When you look at

highly collectible pieces.

the work of more high profile designers and

KI: Given that you are both a serious

peel the layers back, you see the influence of

record collector as well as a designer

these other guys.

of record sleeves, how heavily has your design sense been influenced by the records you love?

70

When I first discovered grid systems, I became almost enslaved by the concept

The multifunctional piano Dirk Wynants for (dw)² has designed a piano that doubles as a table

Inside a historic Paris building Scene from 25 Bis, Paris, France Photography courtesy Beka & Partners the spaces. The directors’ intention is to

is a portrait of the historic building located on

talk about architecture, or rather to let

depiction of daily life.

the 25 Bis Rue Franklin in Paris and built by

architecture talk to us, from an inner point of

the famous French architect Auguste Perret.

view, both personal and subjective.

who lives and works in Paris. He trained as

The latest entry from the Living Architecture

series and commissioned by Fondazione

their films focus less on explaining the building, its structure and its technical details

de Paris-Belleville.

than on letting the viewer enter into the

minutes long.

invisible bubble of the daily intimacy of some

who lives and works in France. She is

About Living Architectures:

icons of contemporary architecture. Through

graduated in cinema and philosophy from the

“Living Architectures” is a series of films

a series of moments and fragments of life, an

Sorbonne, Paris.

unusually spontaneous portrait of the building

Louise Lemoine is a French filmmaker

Bêka and Lemoine have taught at

architecture that turns away from the current

emerges. The experiment presents a new way

Columbia University GSAPP (New York Paris

trend of idealizing the representation of our

of looking at architecture that broadens the

program) since 2013.

architectural heritage.

field of its representation.

Whitespace Gallery

Ila Bêka and Louise Lemoine put

Presented by The New York Times

Venue details:

into question the fascination with the

as “cult figures in the European architecture

Saturday, 7 June

picture, which covers up the buildings with

world,” Ila Bêka & Louise Lemoine focus

4:30pm - 5:30pm EST

preconceived ideas of perfection, virtuosity

on experimenting with new narrative

814 Edgewood Ave NE.

and infallibility, in order to demonstrate the

and cinematographic forms in relation to

vitality, fragility and vulnerable beauty of

contemporary architecture. The uniqueness

architecture as recounted and witnessed by

of their work derives from their subjective,

people who actually live in, use or maintain

creative and humoristic look at masterpieces

studio. The spiritual father of the “Tools for Togetherness” has devised a truly original concept directly combining the social and musical aspects of a piano. Compared to the existing piano types, this musical instrument offers several functional advantages that are a real plus for living rooms. In that respect, it has much more to offer than those funky design pianos of which only the shape has been given much thought. Dirk Wynants’ piano on the contrary is a polyvalent piece of furniture as well as a musical instrument and a table accommodating the player’s audience. Called S.A.M. (Save a Musician), the piano claims to “bring the musician back to the table.”

Learn more at extremis.be.

71

an architect with a degree from the IUAV of Venice and the École Nationale Supérieure

Prada and OMA, it will debut at MA’s Design

that seeks to develop a way of looking at

the Flemish designer’s independent Belgium

Unlike most movies about architecture,

Ila Bêka is an Italian artist and filmmaker

Is Human Week in June 2014. The film is 50

(dw)² stands for Dirk Wynants Design Works,

of architecture portrayed through the

25 Bis, directed by Ila Bêka & Louise Lemoine,

72

A film series takes us into Auguste Perret’s 25 Bis

Smarter design creates better play littleBits designer Krystal Persaud sheds light on principles that make products more enjoyable for everyone

1.

Play makes you feel like a rock star

Krystal Persaud is a Product Designer at

littleBits (littleBits.cc), which makes an open source library of electronic modules that snap

2.

You aren’t afraid to fail when you play

Skateboard with littleBits effects Photography courtesy littleBits

When you play, you can create imaginary

worlds and succeed in them. This helps you

4.

You can play whenever you want

build confidence that translates to the real world. You better believe that when my sister and I protected the planet from an impending evil leprechaun invasion, our egos skyrocketed.

When you feel confident in your abilities, you aren’t afraid to fail.

The design implication here is simple: be

supportive. Create an experience that paves a

together with tiny magnets for prototyping,

While you play, you can single-handedly

clear path to success so that a user feels they

learning, and fun. Krystal graduated from the

create a foreign universe and conquer it. Unlike

are doing the right thing.

Georgia Institute of Technology in 2010 with a

“real life,” when in play mode, you get to call

it’s completely voluntary. Purchasing a product

B.S. in Industrial Design.

the shots. You decide who you are, where you

your own product] to identify potential points

is 100% voluntary too. As a product designer,

are, and what you are doing. Playing is a way

of failure. Unless your product is so simple

that can be easy to forget. Consumers don’t

the grass of my parents’ backyard. “If we

to flex your ego and act out your dreams and

and intuitive, chances are a user is not going

need to buy anything, but they choose the

move this hula hoop a little to the right, our

aspirations. It is not too often that you get a

to know what to do immediately. View these

product you designed, voluntarily bringing

My sister and I sat cross-legged in

Do QA, user testing or dogfooding [using

The most important aspect of play is that

invention will be perfect,” I said to Glorian.

chance to do that.

potential failure points as an opportunity to be

in a new object into their lives. What should

She squinted for a few seconds, then smiled

nurturing and not apathetic. When a user does

they expect when they bring home their new

and nodded in agreement. We were building

for the user to master. Great product design

something right, give rewards. Provide some

purchase? To be embraced into a nurturing

a contraption to capture evil mythical

is based around the rooted goal of wanting

assurance and make them feel productive.

world like a child at play.

creatures, leprechauns in particular, and

the consumer to take control. Enable the user

Think about how good it feels to check

preserve the free world. We were fearless and

to learn the ins and outs of every feature,

something off a to-do list and say, “Got it!”

common to be told, “You have to make it so

somewhat mad inventors. Our minds were in

form, and functionality. View the product

a state so far from reality that different rules

you’re designing as the missing link between

boosts to get the user feeling good and ready

gets it.” But that approach is all wrong. Be

applied. In this alternate creature-slaying

an average user and their rock star alter ego.

to master your product.

encouraging, not patronizing. Embrace product

universe that we created, we were rock stars.

Imagine a cooking utensil that makes you feel

We dreamed up crazy inventions and they

like a world-class chef. A building toy that

worked brilliantly. The plots of our adventures

makes you feel like a professional architect. A

delved as deep as we pushed our minds to go.

notebook that makes you feel like a renowned

I wasn’t just a seven-year-old Guyanese girl

author. Or a camera that makes you feel like

tying two hula hoops together with a Twizzler,

a National Geographic photographer. Why

I was saving the world. I was playing.

design a product that makes a user feel “meh”

about themselves?

Play is typically defined as an activity

The most masterful products are designed

Create a safety net full of instant ego

3.

Play is never-ending

Play is open ended and so are the most

compelling product experiences. An awesome

develop their intellectual, emotional, and

module works with every other module, the possible circuit combinations are endless.

feel as giddy as my sister and I in our parents’ backyard. Great product design should leave you feeling as fulfilled as a child at play.

Then you can share what you’ve made with an online community of people inventing with littleBits and learn a few things yourself.

The product experience of littleBits is

purposefully designed to be infinite. There is no end; you can take it as far as you want.

product is not only functional; it also gives

physical capabilities. While children spend

additional value to the user. After mastering a

8 or more hours a day playing, as adults, we

certain functionality or aspect of your product,

spend that time working, running errands,

what is the next step?

and for lack of better words, getting shit done.

Wouldn’t it be nice to have more

playtime? There is a way to inject more

LittleBits fader kit

play into our lives: through product design.

Photography courtesy LittleBits

You can design more thoughtful product

Krystal Persaud and sister

littleBits is an example of a product that

Photography courtesy Krystal Persaud

encourages exploration through design. I have been a Product Designer at littleBits for two years. littleBits makes an open source library of electronic modules that snap together with

experiences by recreating the state of mind

tiny magnets for prototyping, learning, and

children are in when they play.

fun. They are like electronic LEGO™ bricks

When a child plays with a pile of blocks

that enable you to create inventions without

(or hula hoops, action figures and LEGO

having to solder or wire anything. We want

bricks), she is learning much more than spatial

to empower people to be creative with

and motor skills. She is learning who she is

electronics, to solve their own problems, and

and what role she plays as she wields the

to reinvent their world.

blocks. She is free to experiment without rules

or risk of failure. She decides when to start

littleBits encourages exploration in three

ways: magnets, modularity, and sharing. It

and stop playing.

let you; therefore, you can’t fail. Since every

Playing is an integral part of how children

intuitive that even the dumbest consumer

design as an opportunity to make consumers

done by children from birth until age eight.

When designing a new product, it’s

only takes two littleBits modules magnetically

Below I will explain four ways to

snapping together for you to understand

approach design with play in mind.

littleBits guitar Photography courtesy littleBits 73

how they work. You can’t snap the modules the wrong way because the magnets won’t 74

75

76

The home that follows you

By creating a house that can grow with

its residents and move across state lines,

has three different spaces measuring 27 square meters (9x3): a living-room/kitchen,

Spanish architecture firm ÁBATON asks,

full bathroom and double bedroom. Its

what do people really need from their living

gabled roof is 3.5 meters high indoors.

spaces?

and meet the sustainable criteria that

From the architect:

Project name: Portable Home ÁPH80

Most of the materials can be recycled

ÁBATON applies to all its projects. It blends

Location: Spain

in with the environment thanks to its large

Architect: ÁBATON

openings that bring the outdoors inside. The

Year completed: 2013

use of wood throughout the building not only

Size: 27 square meters

adds calmness and balance but is also hypo

Photography: Juan Baraja

allergenic. The sourced wood comes from

Furnishing: Batavia

regulated forests (and will regrow to provide

a wide range of other benefits, such as further

ÁBATON is proud to present its brand

new project, Portable Home ÁPH80, 27

carbon storage, oxygen generation and forest

square meters, sectional and for immediate

habitat).

placement.

The outside is covered with grey cement

ÁBATON has developed the ÁPH80

Technical data:

series as a dwelling ideal for two people,

wood board. Ventilated façade with 10cm

easily transported by road and ready to be

thermal insulation around the building. Solid

placed almost anywhere. The proportions

timber structure manufactured through

are the result of a thorough study by our

numerical control; Inside timber panels

architects’ team so that the different spaces

made of Spanish Fir Tree dyed white. ÁPH80

are recognizable and the feeling indoors

has been designed and manufactured fully

is one of fullness. It is a simple yet sturdy

in Spain. Manufacturing time: 4-6 weeks.

construction made of materials chosen to

Assembly time: 1 day. Transportation by road.

provide both comfort and balance.

We are currently developing simpler series

which can be added to the ÁPH80 to suit

ÁPH80 embodies the principles

and objectives of ÁBATON: wellbeing,

every particular need, creating larger spaces

environmental balance, and simplicity. ÁPH80

and contributing to the project’s versatility.

ÀPH80 is a moving example of simplicity

ÀPH80 by ÀBATON Photography courtesy ÀBATON 77

78

It blends in with the environment

Centuries converse

Astley is a remote site with rich historic

retained as outdoor rooms. The large gashes in

structure requires starting from scratch. To

resonance: a moated castle, lake, church and

the ruined walls have been kept, making it an

prove us wrong, the English architecture firm

the ghost of pleasure gardens are grouped

unusually light castle.

Witherford Watson Mann has transformed

around a shallow ridge.

a medieval castle by leaving it open to

sunlight on stone walls and views over the

the surrounding natural light and laying

project opens this private estate for public

ancient landscape. At the dining table, you

contemporary materials over its walls of rubble.

access through a network of new pathways,

look out from twelfth and twenty-first century

and salvages the ruins of the castle, binding

construction to fifteenth and seventeenth

Project name: Astley Castle

them into a vivid new house for the Landmark

century walls. The dialogue across the

Location: Warwickshire, England

Trust.

centuries frames conversations between

Architect: Witherford Watson Mann Architects

friends.

Project type: Residential

construction sits directly on the medieval

Year completed: 2012

rubble walls, re-occupying the ancient manor

Photography: Helene Binet

house, while Tudor and Jacobean wings are

We often assume that building a modern

From the architects:

After decades of decline and decay, the

Contemporary brick, concrete and timber

The house is animated by slashes of

A minimal renovation turns Astley Castle into a modern monument

(Before) Astley Castle by Witherford Watson Mann

(After) Astley Castle by Witherford Watson Mann 79

80

An unusually light castle

81

82

Food is not art Karl Injex speaks with Chef Matt Abergel of Hong Kong’s Yardbird

83

84

KI: Did your stint at Masa have

sampled for them. I like the music to have

a significant impact on the creation

a reference point. It’s interesting to watch

of Yardbird?

people when they come into the restaurant.

MA: Yeah, he’s my mentor, and he’s always in

You can always tell the people you’re gonna

my mind no matter what I’m doing, like it or

connect with easily. Maybe you see them

not. I took his approach, the way he saw things,

unconsciously head-nodding to the music, or

and tried to incorporate the other things in my

they may recognize Evan’s handwriting in

life that I love—skating, design—and that was

the logo. Yardbird is a great place to meet

the basis of Yardbird’s culture.

like-minded people, and I’ve been fortunate to

KI: That unique perspective shows

meet quite a few.

through in many aspects of Yardbird,

including the minimal, functional design

and clean, modern branding. How did

you end up working with Evan Hecox on

your iconic logo?

MA: Evan has been one of my favorite artists

KI: Yardbird is your portfolio. Are you

since I was about fourteen years old. I drew a

planning to expand on that?

lot when I was a kid, still do, and skateboard

MA: Yeah. I don’t want to open a bunch

graphics were a constant source of inspiration

of restaurants, as I can only be in so many kitchens at once. But through design, I can

for me. The first Hecox design I fell in love with

flex creatively without spreading myself too thin. There’s so much opportunity to apply my creative drive in other areas while staying focused on the health of the restaurant and the growth of the brand.

KI: Any specific projects to mention?

MA: Yes, I’m working on a line of bar tools, which is already in motion. I also have always had the aspiration to open a hotel at some point down the line.

KI: Any plans to franchise Yardbird?

Chef Matt Abergel of Yardbird

MA: We’ve had a lot of inquiries, but I’m wary

Photography courtesy of Yardbird

involvement in skate/street culture

Yardbird restaurant has become something of

dovetail at some point?

a phenomenon, drawing international crowds

MA: The kids I skated with were from all over.

of salivating diners who happily queue up for

And food seems to be the point at which

a seat at this no-reservation modern izakaya.

these various creative cultures—skate, design

It has also become a model for how great

and music—come together. Everyone eats.

In less than three years, Hong Kong’s

food and a keen design sense can elevate a

It’s universal.

simple concept to icon status. Atlanta’s Karl

KI: How did you develop your affinity for

Injex of SoundTable spoke with Chef Matt

Japanese cuisine?

Abergel (who is, along with partner Lindsey Jang, Yardbird’s owner and operator) about his approach to food, design and building a brand.

KI: How did you acquire your love

for food?

MA: I’m a fat kid. I love eating. Back in Calgary, My family used to eat out quite a bit, often Asian food. I started getting into the ingredients, frequenting Asian grocery stores and trying to recreate these flavors at home. I

restaurants, I realized very quickly that was

enjoyed having friends over and cooking for

the direction I wanted to go.

everyone. I think that’s where it started for me.

KI: That direction eventually led you

to New York, where you worked at Masa,

widely regarded as one of the best

Japanese restaurants in the world.

KI: Did your interest in food and your

MA: Masa was heavily focused on finding the best product, and presenting it in a very simple, honest but detailed way. [Chef Masa] was uncompromising. There were no MA: I started working with Japanese food

allowances for mistakes or shortcuts. It was

when I was nineteen. My first job was in

not an easy place to work, but everyone

Vancouver. That really shaped my ideas about

respected him and his methods, and took that

cooking. Once I started working in Japanese

with them when they left.

85

KI: You seem to value those relationships

of the franchise thing. I value my time, my

as much, if not more than, the financial

time with my kids. I also value the brand too

rewards of the business.

much to just hand it over to someone. It’s like

MA: Of course, as with any business, you have

handing over your kids. It would have to be

to make money. However, I think focusing

the right situation for us to consider it.

your mind away from the money keeps you

KI: Well, please bear in mind that Atlanta

free. It allows you to be more creative, and to

is one of the spiritual homes of fried

concern yourself with the execution and the

chicken. Could be a good fit for Yardbird.

experience, rather than the revenue potential.

MA: I really enjoyed Atlanta. I’ll keep that

It’s about making something to enjoy, rather

in mind!

than to “sell.”

KI: In closing, would you give me the

KI: You’ve managed to cultivate a brand

obligatory “last word” on the Matt

that is at once approachable and

Abergel philosophy?

MA: I think it goes back to the idea of

aspirational, inspiring an almost cult-like

was this Keenan Milton board that Evan had

loyalty. What’s the key?

done for Chocolate. Years later, as fate would

MA: Our staff is an extension of the ethos of

have it, my pal Eug, who knew him, was able

Yardbird, and they feel a sense of ownership,

Food is not art, for me. I consider myself more

to link us and we made it happen.

which translates to a very personal, thorough

of a craftsman than an artist. I have sharp

non-compromise. It’s all about craft at the end of the day. You’ve got to study, focus and grow.

KI: That takes us back to idea of

level of service. That’s essential. It’s something

tools, a good eye for the best raw product

community, and how tight the circles are

you just can’t fake.

and I know how to put it together. It’s like

in the subcultures of food, design and

KI: You seem to have many interests

being a carpenter, a tailor or even a DJ. You

music.

outside the restaurant business

understand the history and the culture of the

MA: It’s easy to make connections in the world

specifically. If you were not in the

music, so you’re able to find things and present

that we operate in, as we all come from a

kitchen, where would you be?

them in a way that’s unique and impactful.

And I think that’s what brings these cultures

similar place, creatively speaking. Kids that I

MA: I thought about applying to [Rhode Island

grew up skating with are doing big things in

School of Design], but I was just too lazy to put

together. Whether it’s food, music, fashion, or

the world now as designers, DJs, chefs… it’s a

together a portfolio. I do love design. I wanted

design, we’re all borrowing elements from past

good time to be us!

to get into [industrial design]; that was my goal

cultures, and combining them in new ways.

KI: I think we both see a great deal

for a time. Now, through Yardbird, I’ve actually

of crossover between the food and

been able to design things and collaborate

music communities. How does music

with great designers. I’m getting to do all the

play into the Yardbird aesthetic?

MA: So much of the music we play comes

things I’ve wanted to do, just in a different order.

from my skate shop days and skate movies.

‘90s hip-hop is big with us, and tunes that were

86

It’s all about craft at the end of the day

87

88

MA visits Copenhagen designers to talk about moving past Arne Jacobsen, so urcing materials from Peru and what it’s like to be paralyzed by freedom

Photography by Asa McCoy 89

New generati of Danish design 90

Do the right thing

ion

h n

Kilo is an industrial design studio driven by ideas Lars Larsen Kilo Founder and Head of Design Photography courtesy Kilo

Lars Holme Larsen founded the

LL: At The Danish Design School, I did

is a driving force, you can do anything; forget

2006 when the Danish headphone brand

great fascination with tools, and I spent most

my internship at PLOT, founded by Bjarke

about how hard it is, anything is possible.

was founded. The founders were running a

of my youth in the workshop or on a tractor.

up in the countryside where I spent much of

Ingels and Julien de Smedt. PLOT was

nightclub in the same building I was working

My parent’s home had the Danish classics,

my time at the workshop and on the tractor, I

the shit, doing the most interesting work

LL: Kilo is an idea-driven industrial design

in. One day, we were chatting and I was asked

Arne Jacobsen chairs and tables, PH lamps,

I actually didn’t know at that time. I had

industrial design shop Kilo in 2005, after

not figured out that I was creative. Growing

graduating from The Danish Design School with a degree in furniture and product

MA: Tell me about Kilo.

design. In 2006, he began working with audio

knew I was pretty good with my hands.

in Copenhagen at the time. In fact, a lot

studio. It’s all about doing the right thing for

if I could design headphones. It’s funny now,

and so on. Looking back I can see now I was

design company AIAIAI on a new way to

of successful architects and designers in

the clients I am working with. Doing the right

but I remember replying, “Of course, we can

fascinated by the aesthetics of these furniture and objects, but also as a result, became very

At school I was given a book, “What

do headphones. He has since worked with

Can I Become,” and, having all the time in

Copenhagen doing great work today came

thing means understanding the brand, its

do headphones, no problem,” not knowing

brands like Fritz Hansen, Royal Copenhagen,

the world being injured, I read the full book,

through PLOT.

strategic vision, implementation, and, knowing

anything at the time.

fascinated by tools and building things.

Louis Poulsen, Hay, The Inoue Brothers and

and it became clear: Everything pointed to

all these things, answering through design.

Bulbul, to mention a few, on various design

architecture. I had good grades in school but

on, being in charge of projects, from the

BIG and was looking for a signature lamp for

I was given so much responsibility early

We spend a lot of time understanding the

At the same time Bjarke had just founded

Tools and aesthetics to me walk hand

in hand. The main focus in the design of the

projects (some of which you will read about

wasn’t so sure I had the qualifications but

initial idea to finalization. I thank Bjarke and

vision for the project. Kilo works closely with

his new office. With a low budget and open

TMA-1 DJ [AIAIAI headphones] has been

in the pages ahead). In 2009, Lars cofounded

applied anyway. In the process, I found I had

Julien for believing in me and giving me the

the client and after the research and ideation

doors to creativity we went to the builders’

on developing a design that is, on one hand,

the design group KiBiSi with Bjarke Ingels

good intuition and understanding of what was

opportunity to excel as a young designer. It

phase we will line up tons of ideas. Then we

market to look for pre-fabs. A couple of days

iconic, and on the other hand imbued with

of BIG and Jens Martin Skibsted of Skibsted

going on and was comfortable answering the

was a lot of responsibility and hard work

will discuss if the ideas are strong enough for

later two lamps were born: BOB (Bunch of

the appearance and functions of a user tool.

Ideation. But none of this was his original life

professors’ questions. About myself, I realized

but also very exciting times to be around

survival to the second round, and maybe none

Bulbs) and Knot.

The approach has been to clean out as much

plan.

that the bigger the scale of the project or

such talented people. I remember working

are, and we start the search process all over

as possible in the design while focusing on

the assignment handed to me got, the more

on important projects at the studio with my

again. It’s this evolution and survival of the

of companies and have a wide-ranging

LL: To go back to the beginning, when I

I focused on details or small scale, and that

girlfriend deadlining with me and our first kid

fittest through process that eventually leads to

portfolio. Kilo is internationally recognized

make it work technically and visually. Another

was twenty years old I was a Telemark ski

forced me into a dilemma where my interests

sleeping next to the computers. It was a crazy

the best ideas and most logical path forward.

and has earned a reputation for delivering

clear focus has been on designing cohesive relations between the different elements: a

MA: What led you to pursue design?

Today we work with a great line up

exaggerating the details that are necessary to

instructor. I lived in Norway at this outdoor

lay in furniture or smaller details like door

time, but when you are given responsibility in

We are talking about many, many hours spent

world-class design and innovation for

school, then moved to France to live as

handles.

this way, you run with it.

in developing the concept leading to iteration

clients no matter the size, from startups to

relation that makes the design appear as one,

a ski bum. Skiing was everything I did. At

MA: Because of the long hours and hard

and detailing toward manufacturing the

corporate organizations. We are decidedly

unified with the same DNA defining every move in the design. The end result is a DJ

After three years with the injury, I

twenty-one, I suffered a bad crash while skiing

refocused my life from being very athletic

work you were putting in, did you ever

product.

non-specialized in market sectors and many

that pushed my lower knee apart. I was left

and decided the injury should not ruin my

feel like it was too much?

MA: What were some of Kilo’s early

clients choose us for that reason alone, to get

headphone that’s no-nonsense and stripped

15% invalid and moved back into my parents’

life. I spent a year in London experimenting,

LL: It is always like that with young designers

projects and collaborations?

fresh perspectives on their brands and markets.

down to its bare essentials.

house. Unable to care for myself, walking

working at different scales for my portfolio,

starting out. You are embarking on a career,

LL: Basically we did interior jobs to pay the

MA: What have these various

around on crutches, I had no idea what to do

learning computer software, preparing to

and every decision presents challenges to

bills and invested our time in product design.

collaborations meant to KILO?

LL: Kilo’s time is best spent analyzing and

MA: Describe Kilo’s design process.

with my life. It was my father who recurrently

change schools and focus my future on

some degree. I did not see it as work but as

We have done projects for MTV, Danish TV

LL: The AIAIAI approach is in many ways

figuring out the DNA of a project and where

asked me, “Well son, what are you going to

furniture and product design.

an important part of my education and career

stations, nightclubs, shops etc.

a good representation of what I stand for.

the project is headed. The rest of the time is

spend your life with and become?”

progression. PLOT taught me that creativity

Growing up on a farm, I have always had a

spent getting rid of fluff and stripping away

MA: How did you get your start?

91

Kilo has been working with AIAIAI since

92

XTable Design by KiBiSi for Holmris Photography by KiBiSi

TMA-1 DJ Design by Kilo for AIAIAI Photograpy courtesy Aiaiai

Pebble Design by KiBiSi for Bulbul Photography courtesy Bulbul injection molded silicone loop defining an

what is not absolutely needed. The process is

MA: Could you mention a couple of other

also listening to the client, its brand, the design

significant KiBiSi collaborations?

brief, and the market.

LL: The client for the iFlash One bike light

We then implemented Swiss movement,

could have commissioned some other studio

sapphire glass and Italian leather, which are

more technically aware when it comes to

high quality components designed to last with

I am not an artist that works for bringing

my shape out there time after time. I see myself

international hybrid of heritage and openness.

more as a businessman and a scientist—design

bike lights, but we were asked to design this

the design.

to me is alchemy and evolution. It’s a mix of

product. Not knowing the industry really

the right ingredients for the right purpose; it’s

helped us out, because when you don’t know

LL: The Kilo name has a certain weight. We do

MA: What does the name Kilo mean?

the survival of the fittest in process, a deep

the industry or haven’t done it twenty times

product design, so every project we do has a

Bunch of Bulbs

understanding of the brands we work with and

before the same way, you can present a fresh

weight, a measurement, something along those

Design by Kilo - Ltd. Edition

a serious amount of love and hours spent in

perspective and approach about the design.

lines. Approaching the name Kilo sounded

Photography courtesy Kilo

search of the perfect solutions for our clients.

This new idea produced a cool unisex and

good and felt right, and helped frame the

magnetic product that is easy to mount and

values of some basic ideas around the brand

LL: Well, Weight Here is a KiBiSi project

can’t be taken apart, making it vandalism-proof.

and the vision in what we hoped to achieve in

and takes a look backwards in time but is

The experience and usability of the magnet

the future.

interpreted in a modern way and with modern

is much like the feel of the Apple MagSafe

MA: Tell me about the relationship

materials. It has historic references to the

connector, making the product fun and more

between Kilo and KiBiSi.

iconic typology of chamber candlesticks

interesting to the consumer.

LL: We see KiBiSi as a rock band, we have a

and candelabras and this move provides the

candlesticks with a grounded feel and a solid

from that of the familiar manual car jack

MA: What would you like to say about

no-nonsense appearance.

principle used all over the world. The

Danish design legacy?

mechanism is a spindle and handle and gear

LL: More than ever, Danish designers today

Scoop Design by KiBiSi for +Halle Photography by KiBiSi

iFlash One Design by KiBiSi for iFlash Photography courtesy KiBiSi 93

MA: Tell me about the Weight Here series.

I think a lot of stories hidden in our past

The XTable design concept is derived

group together but we also do solo albums.

become interesting when implemented in our

that manually lowers and elevates the table.

need to be aware of what we put out to

modern-day life. What you get is heritage in

We researched how best to manually lift

the world. One of my strong beliefs is in the power of aesthetic sustainability. You can see

a modern version. I like creating new icons

heavy things and the carjack was the first and

of old-school products. A lot of things made

best idea to surface. The structure consists

in Danish design tradition many examples

back then were made for practical reasons and

of an X or cross. Although the concept was

of products that survive generations into

therefore have a core function embedded in

different from their original concept, [the

the future. Creating original work is also

their design. It makes sense from the beginning

client, Holmris] loved it and found it a far more

important in Danish design tradition too. We

and that gives you a good starting point for

interesting collaboration and end user product.

can continue to learn from our rich design

designing something that will actually add

value to our lives.

on is the Bulbul watch brand. Pebble is the

Another product KiBiSi has collaborated

history and be the innovators of tomorrow. We continue that Danish design legacy: There are

MA: Does the client always know what

first KiBiSi-designed watch for the new Danish

Kilo and KiBiSi artifacts displayed in museums

they want?

watch brand Bulbul. The interesting aspect of

around the world and a lot of ideas to be explored out there.

LL: Some do and some don’t. We also see part

the Pebble watch is it being neither symmetric,

of our job as midwives helping clients figure

square nor round as most watches are. It is

out what they want. The more they know the

organic like the human body and the pebbles

more we can link to their strategy and the

found on Scandinavian beaches. Pebble

better and more right the design becomes for

combines organic shapes and fine Italian

the company.

crafted leather with the industrial feel of the 94

Tools and aesthetics to me walk hand in

Headphones are just a tool

CBL: If you look at design studios in New York,

CBL: At AIAIAI that’s definitely how we want

based in Copenhagen, Denmark that creates

say with Smart Design—I’m a big fan of their

people to relate to our products. I think the

audio products as functional as they are

work with OXO—they have a very different

idea of Danish design is somewhat overrated.

beautiful. MA sat down with their head of

feel than us. Our product and approach is

And AIAIAI wants to break out of the old

new product development, Christian Buch

Scandinavian and I don’t think our product

mold that surrounds Danish design tradition.

Lorentzen, to talk about the music industry,

would look the same if it were designed

We don’t want to be regarded based on the

minimal design, and what it means to be Danish.

by Smart Design. A big part of our Danish

fact that Arne Jacobsen’s legacy enshrouds

MA: For many years, headphones were

design heritage is to cut away any extra layers

Danish design’s future. No way. We want to

a forgotten relic of the past, but recently

that are not needed. We won’t put a little

do our own thing, make our own mark on

the market has exploded.

silver ring around a product to make it look

history. We don’t want the conversation to be

CBL: We think the explosion occurred when

like something. We’ll ask ourselves, “Why

only that we have Arne Jacobsen’s legacy.

the first iPod launched. The idea of being

is it there? Does it serve a purpose?” And if

Right now there is an open discussion about

AIAIAI on the legacy of Danish design

Born in 2006, AIAIAI is a design firm

able to carry around all your music was a

it doesn’t have a purpose, we might as well

metamodernism as a way of explaining

game-changer. We started out making small

remove it. It’s all about getting it down to the

what is going on. We are taking influences

earbuds. Tracks, which won the Danish

minimum.

from the past and combining it with a

Design Award, has a surprisingly powerful

new way of looking. We have all this new

sound, even though it is really open design.

design?

technology—smart phones, smart devices and

The design brief was to remake the iconic ‘80s

CBL: It’s difficult to explain because design

everything moving so fast. But there’s a need

headphone but in a new updated design. Lars

is such a natural thing for us. We did not

to grab onto something we know, something

Holme Larsen, who designed them, has been

say, “It needs to be a very nicely designed

secure from the past. Blending these two is

with us since the beginning and designs all

headphone,” because our natural instinct

metamodernism, sort of a hybrid of the two worlds. For AIAIAI headphones, we want the

our headphones.

is to make it well designed. Due to our

MA: Is this the beginning of the DJ

long-standing tradition in product design

best technology for the drivers, the speakers,

taking over?

and architecture, it becomes very natural for

the power, and the materials. But when

CBL: Last year in the US, more DJ controllers

us to have design as the focal point. There

you look at a pair of AIAIAI headphones,

were sold than guitars. I don’t think anything

is a bigger design heritage in Danish culture

you know in an instant that it’s a pair of

will ever replace analog music-making, but

that we might not recognize on a daily basis

headphones and not a spaceship.

there is a growing ability to distribute and be

because it surrounds us in our everyday

Design by Kilo for AIAIAI Photograhy courtesy AIAIAI

95

MA: Finally, how did the name “AIAIAI”

your own producer right from home.

life—walking around the city, in our kitchens,

originate?

MA: In my other life whenever time

everywhere—training our eye and creating a

CBL: We held a session to come up with a

permits, I DJ early ‘70s funk and can

critical mass of Danish consumers.

name, and we were asking, “Where do we

appreciate good working headphones.

MA: What is different about Danish

want to position ourselves? What is going

I’m curious—what do DJs want in a

design today?

on right now?” The discussion turned to

professional headphone?

CBL: For some reason I have a thing for

products like iPods, iPhones, iMacs, etc, and

CBL: They don’t want to think about the

lamps, and I’m fond of the Italian brand

someone in the group said that everything

headphones. To them they’re just a tool they

FLOS. But I like the technical aspects of the

has to be with an “i,”—“i,i,i.” Then someone

lamp. Before, we were OK with saying we

said, “Maybe we should be iii.” That lead to

to be reliable, and loud. Of course, they

have design as a core, but today we push the

reinterpreting “iii” to mean you are surprised,

want the functionality headphones offer, but

design further by asking how the design can

like, “AI!” We all thought, let’s not have a

instead of having cups that can rotate up, they

add value. This is part of the changing culture.

meaningful name but an expression, “AIAIAI.”

want the headphones to be flexible and bend.

MA: Do you find that a more

For that, we found a really excellent nylon

collaborative environment exists today in

material and are pleased with the solution

Danish design and between young

and the DJs’ reactions.

designers than it did before?

need in order to do their job, so they need

TMA1 Studio Headphones

MA: How would you describe Danish

MA: As a brand, how would you

CBL: We talk more about being born

describe AIAIAI?

global. AIAIAI is global and we get

CBL: Because the market is so saturated,

recognition, references and connections from

AIAIAI is slowly and deliberately finding a way

collaborations through record companies.

to have a strong voice in the market. One of

In New York, for example, they might like

the things we did was a great collaboration

what we have done in matte black, but want

with a bunch of DJs. One of them asked,

to embed some yellow color. Normally we

why don’t we make some DJ headphones, a

would not do this, but it makes sense because

simple one-piece design that can be tossed

we want our products to transcend into

around, a tool that doesn’t break on us?

different markets.

So the word “tool” became a kind of

MA: Before, this extra value would not

buzzword. He was saying that DJs needed

have existed in Danish design?

and wanted something more reliable.

CBL: We want to be a global product. And

Through that network, soon after, a lot of

that is not only in terms of sales; we also want

big-name DJs became interested and were

to influence people in how they desire Danish

asking questions about the project, eventually

design and at the same time have a say in how

becoming testers of the prototype. That

they look at things they want.

became a really successful story for AIAIAI

MA: AIAIAI does feel more like a global

because we wanted to be that brand for the

brand. In fact, until recently, I was not

DJ and music producers.

aware AIAIAI was a Danish company. You

MA: Would you say that Copenhagen

don’t think, “This is a terrific Danish

has a unique way with design?

product.” You think, “This is great design.”

96

We need to evolve, we need to adapt

Quality design should be affordable HAY believes highquality design should be accessible to everyone

HAY collection Photography courtesy HAY 97

98

It’s about supplying our own generations with quality design

Poul M. Volther Chair for Hay 99

As part of the new generation of Danish

Italian company Capellini. That was fourteen

designers, HAY is taking a democratic approach

years ago and the strongest period for

MA: How do you communicate to your

to high-quality design, landing midway between

Capellini design. What Mette and I observed

consumer market?

Eames and Ikea. Rolf and Mette Hay sat down

was that the people who could understand

MH: Some showrooms do not display prices

with MA to discuss what it is like to live and

the universe of Capellini were the same ones

and you have to go and ask someone for the price of the beautiful object. We want to

work in Copenhagen, creating products for a

who could not afford it.

global audience of consumers.

MH: And the people who could afford

be honest and open and prefer to show our

MA: You visit the city for the first time

Capellini could not understand it.

prices. Everyone who works here is friendly

and witness how profoundly proud the

RH: That’s the opposite of what Scandinavian

and down-to-earth and makes you feel

people of Denmark are of its design

design is about. It’s about supplying our

welcome when you enter.

heritage.

own generation with quality design that is

MA: There are those showrooms where

RH: If you go back to the ‘50s and ‘60s, and

affordable. All of these companies like HAY

signs are openly displayed warning

perhaps even earlier, things really got started

and Muuto did well during the financial

visitors, “Do Not Touch,” and objects are

in Denmark. I think what is quite interesting

crisis. Companies like ours, that share this

placed on pedestals. HAY does not

is that every child on the street knows

philosophy, opened quality-made products to

practice this?

about Arne Jacobsen. It is something we

a larger audience in Scandinavia. I also think

RH: In a way we all come from Bauhaus, and

are extremely proud about. We are a little

this why many of the designers we collaborate

that is our platform whether we like it or

country and you know, it is not every year that

with want to work with us. I think it is exciting

not. Bauhaus was very much about taking

we win the soccer championship, so there

to have their work reach a larger audience of

advantage of the possibilities in our own time.

are few things to be proud about, and our

consumers, instead of museums and galleries.

The aim for many of the important architects

design history is something people think is

of that period was to give as many people as

important. It is something that is in us. It easily

do. You go to the fair in Milan, see products

possible access to quality products by using

fits with who we are. Design is not regarded

launched, lots of media coverage in the

possibilities and technology in the industry:

as something that needs to be exploited in

magazines and blogs, but the true story

bending a tube in an industrial way, or with

order to keep it relevant. For us, it is human

behind the product is the designer is probably

Eames, doing the low-cost furniture exhibition

We all have to make a living at what we

and honest.

getting 5000 euro a year in royalties for this

at MoMA. Everything was about taking

MA: Do you see young Danish design

item. No one can live off that.

advantage of possibilities and bringing high

talent wanting to leave and start their

MA: What you just described would

quality products to people. The interesting

careers elsewhere?

never have been discussed so openly ten

thing is that products from Bauhaus, from Mies

RH: This conversation about Danish design

years ago. It was one of those design

[van der Rohe] and others ended up being

has actually changed a lot. I think today’s

secrets best kept in the closet.

design is a more global language. For HAY, it

MH: If you see something too good to be true,

really what they wanted for the people.

is not important where you come from; it is

it is probably not true sometimes.

important what you do.

MA: Mass production and craftsmanship:

are interested in design, from how they dress,

MH: We love Copenhagen. It is really

Can both successfully converge in

the buildings, etc. But these are understated

comfortable and easy living. From

today’s design environment?

some of the most expensive, but that was not In Copenhagen, you can see that people

things. It is far less about what is around the

Copenhagen, you can be in London, Paris,

RH: There is an enormous amount of

product; it is what is in the product that has

everywhere in a few hours. You can still live in

craftsmanship in mass production, perhaps

true value.

the center of Copenhagen and the schools are

more. It is in the preparation. People think

good, good kindergarten care, and again, it is

that mass production is only about investing

very uncomplicated to live here. And I think

a lot of money into production and pushing a

like in London where your travel day is much

button. These people are very misinformed,

longer and people are strangers, Copenhagen

because the people who are preparing the

is the complete opposite.

production, developing the mold, the press…

MA: And what about the new attitudes

this is a very, very complicated process, and

in Danish design?

they need to have a lot of expertise. It’s all

RH: You can see we have a huge thing from

part of the design process.

the ‘50s with Arne Jacobsen and all these

MH: A lot of what people don’t see is taken

great architects who were some of the best

for granted but nonetheless adds value to

architects ever. And what you have on the

the finished product. A lot of the designers

other end is Ikea, which grew into an amazing

we work with are really talented and good

company and is something we are close to.

at making products with their hands: from

So what we do today at HAY is somewhere

chairs to textiles, from weaving patterns to

Left: Mette Hay, Center: Rolf Hay,

in between. HAY is very much about doing

making a blanket or rug. You cannot make a

Right: MA founder Bernard McCoy.

high quality products at an affordable

nice one on a computer; you need to work it

price. It’s a democratic concept made in a

with your hands. A lot of the prototypes out

democratic context. It is not only about not

of the first design meetings with the designer

doing products for the elite; it’s about doing

are by hand. We recently did a glass under

products for our own generation. Perhaps

our newest collaboration, WRONG for HAY.

the difference about Danish design today is

The designer, Sebastian Wrong, had sewn

that it is not so much about aesthetics but

the corners, and then blown the glass into

more about ethics. We have companies like

this textile. Next, the challenge was to make

HAY, Muuto, Normann Copenhagen, and

this glass into a precise mold, because to

companies like Kilo and KiBiSi, who are

[produce] them as hand-blown glasses would

really determined to make high quality design

drive up the price considerably. So, you can

affordable. Mette and I met each other while

say in that way, craftsmanship because of

working for Gubi. Gubi was representing the

using the hand, married into production.

100

A watch is like a chair

product positioning. Jacob comes from

MA: Does the new generation of Danish

sold out their first inventory of watches in three

Hjerting, which is a small town outside the

designers think globally?

weeks. Meanwhile, international magazines

fifth largest town, Esbjerg, a seaside village.

JMS: Totally. Designers are big nationally, or

like Wired, Esquire, Hypebeast and others

In that area are these pebbles on the sandy

they are like KiBiSi—a niche internationally. It

Bulbul’s new take on a classic object

After launching in August 2013, Bulbul

were talking up the product. MA sat down

beach.

is important to a brand like Bulbul to be part

with Bulbul founder Jacob Juul and product

JJ: That led KiBiSi to design the Pebble watch,

of the global marketplace. So KiBiSi falls into

designer Jens Martin Skibsted to talk about this

connecting back to the place on the seaside

that category where not everybody knows

new generation of Danish designers and what’s

where I grew up.

you, but those in the know do know you.

behind the watch heard round the globe.

MA: Watch-making is a very intricate

JJ: We had an international approach to

process. How difficult was it designing

the creation of Bulbul. My experience in

MA: What made you decide to start

Bulbul?

Pebble?

Hong Kong and China, working with KiBiSi,

JJ: The world I was in [when I worked in

JMS: It’s like designing a chair. So many

meeting you—all these elements transcend

China], one of mass production, had no real

people have done it that it is very tough to

Bulbul into

story. I wanted to get out of that and create

find a way to do it without being artificial. We

an international brand.

products I would be proud of. So I began

went through a lot of iterations. Usually once

working with a few Swedish designers in

the manufacturer is on board it gets easier

about?

JMS: We came up with a long list of names

Hong Kong and together we made some nice

to overcome some of the obstacles. But we

projects. That experience taught me a lot

experienced the opposite. Some of the things

that would somehow express the idea of this

about how designers think and approach the

we wanted to do were not feasible, so we had

project. We investigated and found out that in

branding world and production.

to insist.

Hans Christian Andersen tales, the Bulbul was

JJ: The industry has set opinions and a

a sort of Nightingale, so it provided a Danish

MA: Why watches?

JJ: Because I had been exposed to so many

particular way of doing things, and we

reference.

different products, I saw all the advantages

wanted to challenge all of it. We came up

JJ: It was a funny brainstorm and I remember

and disadvantages from furniture to jewelry.

with this asymmetrical shape that is beautiful

it quite clearly. At the table, someone circled

But there was something about watches

and very unusual for the industry.

the name Bulbul and wrote a remark, “funny name.” I noticed that note and thought,

that fascinated me. You can communicate

a watch all over the world in a single image.

JJ: Besides Pebble watch having a Swiss

A Japanese guy who doesn’t speak English

movement and ten-year battery life, we

for a name that is easy to remember and

can easily interpret that it is a watch; there’s

looked at the classics—steel, leather, and

pronounce in any language. You know,

nothing to explain. I really wanted to be

other high-quality materials—because we had

when you have to spell an e-mail address to

involved in a product category that I could

a great shape and wanted a material palette

someone on the other side of the world, it

market worldwide and handle logistically. I’ve

that would complement any Bulbul watch.

can be tricky with names, and that’s why I

always had a fascination with watches and

JMS: But we upped the game by having

wanted something very short. Jens Martin

decided that was what I wanted to pursue.

the craftsmen up their game. We upgraded

found that there were a lot of nice layers and

MA: Do you think today’s young buyers

the quality of the Italian leather and used

meanings in this little name. Bulbul is also

are into watches like in previous

sandblasting to get that fine, brushed look.

a rowdy little bird with a mohawk and has

generations?

MA: I was online looking at all the blog

been compared to Angry Birds. We found the

Design by Kibisi 101

MA: What about the materials?

contrast funny, and so the name Bulbul was

maybe it is a funny name. I was looking

JJ: Yes, but in a different way that does not

activity around Bulbul: Designboom,

have as much to do with time. Of course

Dezeen, Uncrate, Hypebeast, and the

that much more special.

people know what time it is through their

list goes on. Are you surprised by the

mobile device, etc., but it is more than that.

early success?

Bulbul?

MA: What can we look forward to from

JJ: There is a new version coming out,

In a watch you have the fusion of design,

JJ: It is certainly more than I have hoped

mechanics, and style. It is that intersection

for. Just from showing it to friends, the initial

inspired by the Pebble watch. Something to

that triggers an interest in the watch.

feedback was very strong. I knew we had a

do with gold. We are also working on more

MA: How difficult was it to design a

beautiful product, but everything that has

designs, all developed from scratch—the

watch that embodies simplicity and

happened since… I’m overly happy.

lens, the dial, the hands, the crown—they

beauty?

MA: Jens Martin, is KiBiSi’s design

are all first generation, original design and

JJ: It was extremely difficult. Once I decided I

approach for Bulbul that of a typical

take a long time to develop. We are a bit like

wanted to make a watch, I contacted

Danish approach?

[Danish design collective] KiBiSi. I knew I had

JMS: Yes, but in some ways KiBiSi is very

the manufacturers’ worst nightmare because of our design details. They try to push for

something special if I could pair this world of

un-Danish. If you take ordinary industrial

something that is easy to produce, which is

watches with this new generation of Danish

design in Denmark, it’s a woman, alone, with

a challenge we had to overcome and were

designers. There are a lot of Danish watch

a high sensitivity and a sense of details. So,

successful at.

brands in the marketplace, but they are all

just the fact that we are men, and that we are

in the classic style, with the old guy gazing

a team, makes us different. Normally Danish

towards the horizon. I wanted to take the new

design companies tend to be extremely

Bulbul founder Jacob Juul and MA founder

generation of very good Danish designers

function-orientated or extremely about form.

Bernard McCoy at Soho Hotel in Copenhagen’s

and lend their talent to watch making, in part

KiBiSi wants to zone in on ideas. Once we

Meatpacking District.

because no one was doing it.

have an idea, for example, that the watch

MA: The watch market is saturated. Jens,

will have a pebble shape, we don’t go into

where did you find the inspiration and

taste-making decisions. Whatever serves the

vision to drive this project?

JMS: We questioned Jacob quite a lot. We

Pebble watch

MA: How did the Bulbul name come

idea best is what we roll with. This approach makes it much easier to work as a team, and

didn’t just want to make something up. We

that is very un-Danish. But of course the stuff

wanted to know more about Jacob’s history,

we design has our Danish DNA in it, including

his personality, so we could add it into the

our work with Bulbul.

real story and brand, instead of just pure

102

We’re a bit like the manufacturer’s worst nightmare because of our design details

Aesthetics meet ethics

It’s about the whole experience for the Inoue Brothers

Inoue Brothers alpaca collection Photography courtesy Inoue Brothers 103

104

The Japanese-born, Copenhagen-bred

team of brothers known as The Inoue Brothers

to MA founder Bernard McCoy

is looking to South America for a more

smooth. Whereas cashmere is fluffy and soft

European and American clothing brands. In

and wool is much more durable and itchy,

the name of mass-production, what is the

with the highest quality alpaca wool, they are

alpaca has this amazing ability to transform

consequence we pay?

bringing their designs to the best boutiques in

in its environment. It lives 4000 meters high.

MA: What considerations determine

the world, including London’s Dover Street

That’s important because in the morning,

TIB’s new designs?

Market. MA sat down with Sartoru Inoue to

it can be -10 degrees and snowing, during

SI: We do menswear because it is what we

talk about The Inoue Brothers’ brand, its vision

midday it can be +15, so in a few hours

enjoy creating and are educated on. Some of

and its goals for the future.

the temperatures vary that much. They say

what we offer is sold as unisex. We do what

in South America you can experience four

is described as modern classics and new

MA: What does Copenhagen offer young

seasons in one day and for this reason alpaca

luxury. Because we are a young brand, our

SI: Copenhagen is famous for being very

has evolved into a hollow fiber, which gives it

garments are classic for their time. New luxury

forward-thinking. Copenhagen is very green.

a thermal effect. It is unique in that it is good

in the sense that we are not blood diamond,

Copenhagen is also very humanistic with its

for both outdoor and indoor environments.

where workers suffer and die for me to have a

welfare and its healthcare system. All of this

With cashmere and wool, if it is too warm, you

so-called luxury item. For TIB this is not luxury

works really well in Copenhagen and is one of

have to take them off. When it is really cold,

and is certainly of no value if people have to die.

the biggest prides of Copenhagen.

alpaca will warm you, and when you go into

MA: To be a young designer in

warm environment, it releases that warmth

levels. It is rare, expensive, the best in the

Copenhagen, I would think the design

because its natural environment has evolved

world, workers benefit from it, on all levels

world always has its sights on you.

the fiber in this way.

it has created value, that’s new luxury and

SI: A lot of the creative people here who have

found success have done so because of the

branding.

MA: Tell me about The Inoue Brothers’

New luxury has to create value on all

when you wear it you really feel very special.

TIB writes about the new luxury values on our

international attention this city attracts. But

SI: Like starting any business, we had to

hangtags and our website is very informative

it is also the way of life here. We are not that

decide on a name. The design for the brand is

as well. The most important part of our

consumer-hungry. People like to kick back

minimal. We wanted the name to be as honest

alpaca designs, the last 30%, is done with

and relax, spend more time with their friends

as possible and decided on The Inoue Brothers,

the indigenous people in Peru who have the

and family at home rather than working extra

our family name.

expertise and craftsmanship. We sit down

hours to buy more stuff. Young designers

with these specialists in alpaca, describe what

Our branding exercise happened through

here design so that everyone is included, no

a chance meeting with one of our biggest

we desire, and seek their advice on details

matter how much or little you have. It’s a very

heroes, photojournalist Martha Cooper. She is

ranging from threads, knits, all the way down

democratic perspective, not for elitists.

known for her work in the seventies reporting

to the smallest detail. They tell us how they

MA: Do The Inoue Brothers embrace

on wars. We had learned that she was going to

will do it and how much it costs. There is a

Danish values?

be in Denmark for a book-signing event, so my

wide palette of colors we can choose from. If

SI: Yes, but I’m not sure if it is the influence

brother and I attended it and took the chance

we see other colors we like, we see if they can

of us growing up in Denmark or of our

to approach her about our business. We asked

match it exactly. Shapes and fittings are down

Buddhist upbringing. The Inoue Brothers’

if she would write our name, “The Inoue

in Copenhagen. Fittings are the most difficult

fashion is called ethical fashion, sustainable

Brothers,” and told her however she wrote

because methods today are too old school.

fashion focused on human values. It is also

it would be our logo, whether we liked it or

Over the years, men’s bodies have changed

empowerment of the people who make

not. She took one of the books and wrote our

considerably and we need to design clothes

our products. Our original intentions were

name. But what she did that was so human

that reflect this.

not to do fashion. We wanted to be social

and would become very special for our brand

entrepreneurs, being socially engaged with

was adding three dots after our name. Had she

local communities all around the world, to

just written our names, it would be regarded

produce something together and sell as a

as just me and my brother. But by adding

brand. Denmark has been focused on a lot

the three dots at the end, the name became

of sustainable production way before other

eternal.

countries. This is true, especially compared

to Asia, where the populations are so massive

of value, and be creative doing it. The value

We want to specialize, do something

that they have to think mass production. So,

for the consumer is to own a timeless piece

in our way of doing ethical production, its

of clothing that is desirable and will provide

inspiration definitely comes from our Danish

years of wear and satisfaction. Our slogan is,

upbringing too.

MA: What were some of TIB’s earliest

“Style cannot be mass-produced,” based on a generalization of mass-production in its worst

experiences?

form and motivation.

SI: A Danish friend recommended we travel to

MA: What is mass production done in a

South America. That adventure was important

good way?

because I always wanted to do a family

SI: There are many forms of this. If you find

business working with my brother. We lost our

a cure to a disease, please mass-produce it. If

father very early and grew up appreciating

you have a product that can bring drinking

the family bond; otherwise we could not have

water to the poor, please mass-produce it.

survived.

Other good examples of mass production are

of sustainable products but even with that,

We began by traveling to Bolivia, Peru

and Chile. But what we fell in love with

105

burned and killed mothers, daughters, and sisters. That factory worked for very successful

sustainable clothing experience. Working

designers?

Sarturo Inoue (left) describes the finest alpaca

difference between alpaca and normal wool and cashmere is that alpaca is very silky and

there has to be a balance. I’m not the judge

immediately was this amazing material

but would ask what is the consequence in

called alpaca. Alpaca is a wool that is very

doing so in unethical ways? Think about the

unique compared to other animal fiber. The

situation with the factory in Bangladesh that

106

In the name of massproduction, what are the consequences we pay?

Save your city and ride a bicycle Biomega’s bikes are technological innovations, ecological solutions, and museum artifacts

RIO bike

LDN bike

Design by Ross Lovegrove

Design by Ross Lovegrove

Danish designer would be offended. Because

MA: On a more personal note, why do

nice bikes are always sports bikes, and people

internal hub, Biomega went in the opposite

Figure out what is your identity. It could

of Biomega, a luxury bicycle manufacturer,

in Denmark, design is function and there is

you love bicycles?

are willing to pay a premium for something

direction of that paradigm and industry

be personal and that region being Atlanta

and KiBiSi, a leading Scandinavian product

this strong emotional attachment to need,

JMS: You might as well ask, why do you love

very light, but if it is for the city, it becomes

mentality. The end-consumer appreciates it

is important. So, what does Atlanta mean

design group, has helped ambitious

function, and purposefulness.

your wife? But I find something beautiful

something cheap and crappy. This doesn’t

because of their interest in innovation and

in terms of design? If you take the distance

companies build products that redefine

about this machine that mechanically is the

make sense because city people are the first

technology.

between Copenhagen, Amsterdam, Paris,

marketplaces for more than a decade. Jens

practice where products are manufactured

most efficient machine on earth.

ones to want the latest cool gadget, car or

MA: Looking into the future of cities

London, Milan, these are very small distances, yet they have very different characteristics.

Jens Martin Skibsted, founding partner

In some cities or societies design is a

Martin Skibsted is a design philosopher and

so that they don’t last long and people

MA: Do Americans have the same

experience. We wanted to design a bike that

becoming mega cities with populations

serial entrepreneur whose bicycle designs live

instinctively buy more and more stuff. Even

emotional connection to the bicycle as

had emotional appeal and could

in the tens of millions, will the bicycle

So, figure out what is the character of Atlanta

in the permanent collections at the MoMA,

to hard core Danish business people, it’s

in Denmark?

compete with cars. If you mention what kind

replace cars?

that can be put into design today. If it exists,

Le Cnap and SFMoMA. A Young Global

shocking that products are made in this way.

JMS: The Danish, Scandinavian, and

of bike you have, people don’t associate

JMS: The average car occupancy is one and

maybe the world wants Atlanta. It’s an

Leader who spoke at Davos 2011, he is a

I mean, how can you not make a product

Japanese see bicycles as practical and as

your bike with the kind of person you are.

a half people per car. This takes up so much

opportunity; develop it.

member of INDEX Award, World Economic

intended to last forever?

an object not weighed by social class. In

But if you say what kind of car you have,

space. If we’re talking buses or bikes, we can

Forum’s Global Agenda Council on Design

Denmark, for example, when the prime

people immediately start associating you

fit a lot more people on the roads and won’t

Innovation, and the Danish Design Council.

design language is unique, and to a much

minister rides a bicycle, which he does,

with a particular kind of lifestyle, or at least a

need as much space. People think that driving

He is a published author and a guest

larger extent, Denmark as a country,

nobody talks about it much. In the US, the

perceived lifestyle. For bikes, it is like having a

a car will make them faster than a bike but

blogger for Fast Company. And he was kind

you would have to look at the world’s

bicycle is regarded as a sports object. You

washing machine at home and people saying,

this is actually not true. In Europe the bike is

enough to speak with MA about his vision for

consumption—the main source of global

have it in your garage, you put it on your

yeah, but I don’t care.

forty percent faster than cars on average. Cars

bicycles changing the way cities move.

warming today. We are making more objects

car, you drive it somewhere and use it. Of

MA: Biomega was an early adopter of

will only get slower as cities become more

MA: What makes Copenhagen’s design

than we really need and at an unsustainable

course, in some areas it is seen as a practical

the internal hub, which was

and more congested. So you see, there is a

language unique compared to design

pace. Society can’t stop consuming or

means to commute, so attitudes in the U.S.

revolutionary at that time, and

host of issues around the car as the preferred

cities like London or Paris?

economies would fall, but there has to be

are changing all the time. I don’t think this

introduced its innovative drive shaft to

mode of transport. In terms of private

JMS: A lot of the tradition in Danish design

a new way to consume: sharing, reuse or

connection is less emotional, but different

bike design. Both parts provide the

transport the best alternative solutions today

has been driven by modernist thoughts that

other types of thoughtful consumption. In a

types of bike typologies exist between the two

benefits of low maintenance and high

are in manual and electric bicycles.

functionality. Why don’t bike shops get it?

Also to understand how Copenhagen’s

people should have better lives, design should

way, designers are the mercenaries of this

countries.

MA: Any advice for the younger

be democratic. Even some expensive design

condition because we design to make money

MA: I read somewhere that the Biomega

JMS: Not all bike dealers, but in general, the

generation embarking on a meaningful

attempts to be more accessible to everyone.

for business. Copenhagen designers challenge

MN series of bikes designed by Marc

more complex [the bike] is, the more gears,

career in design?

I was in Paris and visited what is considered

the negative impact of globalization and

Newson is like the sports car in the

suspension, or whatever, the easier parts

JMS: Ask yourself why the world needs what

a design museum, but in Denmark if an

consumption on the environment.

world of urban cycling.

break, and the better it is for [the bike shop].

you want to offer. We don’t need another

With innovation like a drive shaft and the

chair, so focus on what the world needs.

JMS: The idea was to make a city bike. The

era in design were called decorative art, a 107

108

Ask yourself why the world needs what you have to

Beauty is uninteresting christian slater

uma thurman

willem dafoe

forget ab o u t love

Nymphomaniac poster detail 109

com i n g s o on

110

For Studio Mega, the truth about graphic design lies beyond its smoke and mirrors

The difference between a good brand and a bad brand is whether it makes people talk, explain or ask questions

update. Maybe that is enough. But what if we

Our work starts and is driven by ideas,

design consultancy producing materials for

pushed a bit more?

conversations and thoughts. All the way

editorial and identity design. Most recently,

they created a set of posters for Lars Von

through revision. Evolution is about taking

and experience something other than sitting

Trier’s Nymphomaniac. Cofounder Tobias

it a step further. The perception of a brand’s

in front of your screen day in and day out.

Røder was kind enough to talk to MA

visual expression changes in time with the

But regardless of which project we are in the

about Mega’s process, the pros and cons of

world around it. In the evolution phase, we

middle of, the computer will always be there,

Mega is a Copenhagen-based graphic

We learn about a brand’s background

through. I think that it is important to get out

technology, and what it means to transform

take this transformation seriously as we

as a secondary, but necessary tool.

brands into culture.

explore where the brand is going and what

MA: Does working with your hands give

MA: What do you love and hate about

tomorrow will look like. Always keeping in

you more interesting results?

the graphic design industry?

mind where it came from.

TR: I sketch. That is the quickest way of

TR: I love the craftsmanship. I hate contrived,

cementing an idea. If you sit down at your

overblown and self-important nonsense

stage in the process, it’s our duty to think big.

screen right away, you risk that you will

like, “universal functionality,” “competitive

If Revision is about challenging the status

destroy the idea, because the computer rarely

brandscape analysis,” and other phrases.

quo and Evolution is about challenging the

leaves anything to the imagination. And then

[They do] our industry no good at all and

brief, then Revolution is about challenging

I think that it is calming, almost meditative,

give the impression that we have something

ourselves. And we do it with a design solution

sitting down and drawing and arranging with

to hide.

that is not only unexpected, but surprisingly

paper and a pencil.

Revolution is a big word. But at this

MA: Where, if any, are the new frontiers

obvious, too.

in design for Mega or in your industry?

MA: What makes for creating a

TR: My children often ask me what my

TR: We have a tight focus on communication

memorable visual language for a brand,

favorite color is. I never know what to answer.

identity or ad campaign?

shia labeouf

connie nielsen

stellan skarsgård

jamie bell

stacy martin

christian slater

uma thurman

willem dafoe

I recently reviewed a presentation with one of

and craftsmanship. I think the basic principles

TR: It’s about transforming brands into culture.

our junior designers in English. In the middle

change, quite the contrary.

The truth is that branding is not rocket science,

of the presentation, he said, “You are using

but creating culture is an art mastered by very

the word ‘enhance’ a lot.”

TR: Restrictions. You would be surprised by

charlotte gainsbourg

MA: What’s your favorite word?

of visual communication are not going to MA: Creatively, what drives Mega?

l ars von t r ier

few. So most brands around the world pay the

how liberating it is to think inside the box.

whole world just to keep them alive.

MA: What is MEGA’s most creative work

to date?

It’s hard to know whether a brand will

become a part of culture, because ultimately

TR: I think there is an interesting story behind

it’s out of our hands. Culture is created

all our projects. Some are more visible than

by the people on the receiving end of the

others.

brand. This only happens if people accept the

MA: Are words like play, shock, beauty,

brand as what was once called “a household

wit and freedom relevant to Mega’s

name.” They actually use the brand to make a

work?

statement. Or in other words, they exchange

TR: Playing is stimulating. Shocking is

the brand into currency that they can use in a

uncomfortable. Beauty alone is uninteresting.

social setting. Because the best brands don’t

Freedom is paralyzing. But wit is a crucial

attract an audience; they engage participants.

ingredient in visual communication. A fine

balance between humor and intelligence

culture unless it stimulates discussion. So, for

is something we are looking for in all of our

us, the difference between a good brand and

We usually say that nothing evolves into

solutions.

bad brand is whether it makes people talk,

MA: To what degree does Mega

explain or ask questions.

experiment with typography?

MA: How has social media impacted

TR: We see ourselves as very experimental.

Mega projects?

But the art should not let the experiment

TR: I am very fascinated by social media and I

shadow the message.

could easily imagine developing both strategy

MA: Does MEGA take creative risks?

and concept using social media. The problem

What are the pros and cons?

forget ab ou t love

is that our projects are often confidential until

TR: Yes, I am creative. And no, I do not take

publication.

risks. Revision, evolution and revolution are

MA: Is the computer an amazing tool in

three words that say everything about the

your work? Is it the right tool for every

way we work. Each word describes a step

single project?

in our brand design development process.

TR: I learned the profession before the

And yet, each step also represents a concrete

computer made its entrance. The work was

proposal for a solution. In other words, we

more universal then and the art departments

always develop three different—although

were more like workshops. My hands were

coming so on zentropa entertainments nymphomaniac lars von trier charlotte gainsbourg · stellan skarsgård · stacy martin · shia labeouf · christian slater · jamie bell · uma thurman · willem dafoe · mia goth · sophie kennedy clark connie nielsen · michaël pas · jean-marc barr · udo kier louise vesth peter aalbæk jensen · marie gade denessen · peter garde bettina brokemper marianne slot · bert hamelinck · madeleine ekman manuel alberto claro, dff peter hjorth molly malene stensgaard kristian selin eidnes andersen jenle hallund vinca wiedemann anders refn simone grau roney alexander scherer manon rasmussen dennis knudsen charlotte buch marianne jul hansen · sascha verhey zentropa entertainments31 aps zentropa international köln · slot machine · zentropa international france · caviar · zenbelgie · zentropa international sweden · arte france cinéma · film i väst groupe grand accord: arte g.e.i.e. danish film institute · film- und medienstiftung nrw · eurimages · deutscher filmförderfonds · centre national du cinéma et de l’image animée the belgian tax shelter · swedish film institute · the flanders audiovisual fund (vaf) · the media programme of the european union dr · nordisk film & tv fond · canal+ · arte france · nordisk film cinema distribution · den vestdanske filmpulje · cine+ trustnordisk an official danish · german · french · belgian co-production in accordance with the 1992 european convention on cinematographic co-production © 2013 zentropa entertainments31 aps · zentropa international köln · slot machine · zentropa international france · caviar · zenbelgie · arte france cinéma presents

producer

co-producers

sound designer

interrelated—suggestions for the challenges

always stained from markers. They aren’t

we’ve been entrusted to solve.

anymore.

MA: Can you go into more depth about

that process?

TR: A revision is sometimes all that’s

written and directed by

starring

executive co-producer

costume designer

story developer

key makeup & hair designer

executive producers

director of photography

story supervisor

post production supervisor

additional directing

line producers

visual effects supervisor

production designer

editor

art director

produced by

in co-production with

with support from

in cooperation with

For me, there is no doubt that the

international sales by

computer has revolutionized and perfected our craft. You have access to endless

necessary. So we start at the beginning by

knowledge and no longer need to step

breaking down the existing design, ensuring

outside to perform a job. But I am sure

a solid foundation for a revision that remains

that the lack of movement and versatility

loyal to the brand’s legacy, but that also

minimizes the chances that something

aspires to something new: an understated

unexpected arises. Something surprising.

111

Poster for Lars Von Trier’s Nymphomaniac 112

My hands were always stained by markers.

They aren’t anymore

113

114

We discovered quickly that our industry was evolving on a national level to be more accessible

Since famed architect John Portman built the

which is not really the case. People have an

Atlanta Decorative Arts Center over fifty years

interest like they’ve never had before, and

ago, it has continued to evolve, opening up to

the designer is there to collaborate with their

the public for the first time last October. Katie

clients to see their design vision through.

Belveal, general manager, walks me by one of

MA: Do you find that having ADAC open

the new showrooms by Martin Nash, the walls

to the public helps interior designers

The on constan is chang

justify their costs?

of which are decorated with graffiti. “That never would have happened two years ago,”

KB: Not only their costs, but what they’re

she says. ADAC’s purpose—to be a resource

doing. They take 500,000 square feet of

for the interior design community—has always

product in this building and say, “I’ve had

been the same, but the way it does so will

conversations with you. I’ve looked at your

change with the times.

Pinterest boards. I understand what your style

MA: With what purpose was ADAC built,

is. And now I’m going to find the pieces that

and how has it changed?

are right for you.” It’s hard to walk through this

KB: From the beginning ADAC was intended

building and sort through it yourself unless you

to be a resource for the design community, but

have that professional experience. At the same

it has evolved over time. Certainly we have

time, people now have the chance to come

the highest of the highest end: $30-40,000

in and be part of the shopping experience,

dining room tables. But we also have more

whereas before they may have felt that they

reasonably priced things, more of a moderate

were 100% dependent on their designer.

retail price point. The difference is that you will

MA: How might ADAC’s aesthetic evolve

always find opportunities to use custom finishes

along with its accessibility?

and make something your own as opposed to

KB: With the influence of new generations,

mass-produced, like at the retail level.

you’re seeing more of an edgy, modern look

MA: Those of us who are in our late

without losing the sophistication and elegance

twenties or thirties are starting to realize

we have always been known for.

that maybe it’s time to invest in something

I think some of our showrooms—like Martin

that will last, or that the person next door

Nash, Paul + and even the new Schumacher

doesn’t have.

and Jim Thompson—are answering to the

KB: You want to be involved in the process;

different style. We are breaking the traditional

that’s the biggest change. Our parents and

mold.

MA: What does ADAC have planned for

their parents handed the budget over and their

the coming year?

designer just did it. Whereas we have ideas and we want a sense of that ownership. One

KB: When we opened to the public we wanted

thing my mom taught me is to buy a good sofa.

to get people into our building in a way that

Spend the money; you’ll recover it over time.

would make them feel comfortable and not

It’s teaching people that and reminding them

intimidated. The number one way we have

that disposable will not always be the most

done that is through events. In 2012 we hosted

cost-effective in the long run. Don’t do it all at

65 events; in 2013 we hosted 126 events. This

once but do the important pieces one by one

year we are partnering with Kevin Rathbun:

over time. It’s mixing and matching, but your

He’s choosing a dozen up-and-coming chefs

sofa at ADAC is something that lasts over time.

and mixologists and we’re partnering them

MA: You are personally about to celebrate

with a dozen up-and-coming designers to

your two-year anniversary as general

create a space that showcases food and drink.

manager. What kind of goals did you

It’s just a different way of reaching a new

have for ADAC when you got here?

audience and starting to tell our message.

KB: Luckily those were laid out for me in the

beginning. When I arrived at ADAC there

design centers: ten states. We have designers

We have one of the largest reaches of any

was an industry discussion going on. Mr.

coming to ADAC from Virginia, Arkansas

Portman tasked me with figuring out if we

and Louisiana, all the way down to northern

should open to the public or keep ADAC as

Florida. It’s certainly important that people in

one of the last design centers closed to the

Atlanta and the surrounding area know about

public. We discovered quickly that our industry

us, but we need to make a conscious effort

was evolving on a national level to be more

to reach communities throughout the entire

accessible, so the answer was yes, open to

region. In the next evolution, we want to do

the public. With the internet, more and more

pop-up ADAC in those cities to showcase

people know what is out there. They can get

what’s here.

online and do some research on their own,

MA: In the same way that Atlanta is a

but they can’t get access to it? That doesn’t

hub for the Southeast, ADAC is a hub for

make sense. We were missing an opportunity.

Southeastern designers. Or is it more?

So we thought, let the general public come

KB: You’ve got New York and LA, but Atlanta

in and see what the true world of design is all

is becoming one of those top hubs. We were

about. Let them come in and sit on a sofa and

known for being a regional design center for a

understand how it feels and why it’s different.

long time, and now we are getting recognized

The profession of the interior designer in

on a national level. That’s who Mr. Portman is,

some ways is becoming a lost art, but it is such

his visions for this city, and for ADAC. To have

an important piece of the puzzle. There’s a

him see that vision through is pretty cool.

misconception that designers are an add-on,

Katie Belveal on the evolution of ADAC Photography by Fredrik Brauer

115

116

nly nt

Famed architect John Portman is

and anticipation. I do not go in with pre-

and is known for his multi-story atria, which

conceived notions. I want the design to be

appear in buildings both here and all over

born out of the project’s reason for being. I try

the world. For over fifty years he has lived

to put myself in the shoes of the person who

and worked in Atlanta, taking an active part

will use the spaces—the people who will work

in laying its bricks and cultivating its global

there, the people who will be visiting—then

relevance. MA was privileged this year to

I try to figure out what they need. I design

pick his brain about what it is like to build

with people in mind, and I have found that

in Atlanta and what’s in store for his 1961

people—whether from Atlanta, Shanghai, San

Atlanta Decorative Arts Center, which he still

Francisco or New York—are more alike than

influences today.

different. We all experience the world through

MA: You designed the building known today as AmericasMart as well numerous

senses, invoke an innate human response, and your design will have universal appeal.

including the Peachtree Center and

MA: You continue to be involved in

Hyatt Regency Atlanta. What did you

ADAC on a daily basis. What is your

need to do differently when working on

vision for its future? How will ADAC be

ADAC (Atlanta Decorative Arts Center)?

different in 2014 or 2020 than it was at its JP: The one constant in this world is change.

hotel differ from those of an office building,

ADAC has changed over the years. It has

just as a downtown high rise presents different

grown, certainly, but also evolved. For

challenges than a project set into a residential

instance, the decision in 2012 to allow the

neighborhood, such as ADAC.

public to visit ADAC was a major change

in policy, representative of how the entire

ADAC is designed specifically to fulfill its

purpose as a one-stop, central source for high-

industry has moved toward making

end design products. From the drive up with

professional interior design more accessible

the landscaping and the sculpture, to stepping

to everyone. ADAC will continue to evolve

through the doors and venturing in, all the

in response to the needs of the design

way through the building, the spaces unfold.

community and its clientele. hope ADAC will have on the design

something extraordinary. The representatives

community at large?

in the showrooms want their wares to be “the

JP: The events and educational materials

star.” These are very discerning audiences and

available through ADAC have a profound

ADAC does not disappoint. There is a sense

effect, not only on the design community,

throughout that this is a very special place.

but also on their clients. The insights and

MA: In what specific ways did you make

inspiration provided make for a well-informed

design decisions based on your clientele

and lively exchange of ideas that elevate

and their needs (designing for designers,

the experience beyond that of a business

so to speak)?

transaction to one of true partnership.

JP: One very specific example is the

Relationships are built and strengthened, and

integration of natural light into the design.

everyone benefits.

design profession and there is no better light in which to compare colors than natural light. The center skylight and the glass-fronted showrooms allow natural light into the interiors.

The buildings are also planned with

complete flexibility to lease. The bays can be divided in a number of different ways, allowing tenants to have showrooms of varying sizes and configurations. Interiors are free of dividing walls except those specified by tenants. The experience in one showroom may be completely different from the one next door. They are completely customizable.

MA: You’ve designed skyscrapers for San Francisco, Shanghai, Detroit, Los Angeles and New York. How is designing for Atlanta different?

JP: There is no place I would rather be designing for than for Atlanta. It gives me great joy to contribute to the shaping of my

117

MA: What wider influence do you

there on a voyage of discovery, a quest to find

Color choices are very important in the

Photography by Fredrik Brauer

inception?

of circumstances. The functional needs of a

Design professionals and their clients are

There’s no place John Portman would rather design for than Atlanta

the same human senses. Design to engage the

characters on the Atlanta skyline

JP: Each project presents its own unique set

ge

design opportunity with a sense of wonder

responsible for much of the Atlanta skyline

community. That said, I approach every

118

Design should invoke an innate human response

Every object tells a story

CH: Obviously you try to get the best

important that the shade had movement and

Chris Hardy has had huge success. Having

thing you can. It was a little bit of luck and

looked alive.

sold a lamp to FontanaArte, he is now

persistence. I like to work with companies

MA: How did living in China influence

working for Design Within Reach on the Helix

who care about their projects. You don’t want

your work?

Collection, a set of walnut and brass tables. In

to work for a company that makes knockoffs

CH: Being overseas made my perspective

a conversation with MA, Chris shares what

or anything like that. You want to work for

larger. It made me question things more, not

drew him to industrial design, the inspiration

people who truly understand design.

only about Chinese culture but our culture.

for his pieces, and how his furniture is more

than the sum of its parts.

company that teaches consumers about

subconsciously. Living in China put things in

design. Their catalogs would be little history

perspective and made me spend more time

Rising industrial design star Chris Hardy talks with MA about his latest project for Design Within Reach

For a young designer living in Atlanta,

MA: How did you get into industrial

Design Within Reach has become this

design?

lessons for me growing up. They’re the only

thinking about the implications of certain

CH: My father was an architect. That seems to

company that does on site photo shoots. Most

choices.

be pretty common with industrial designers.

companies would take a loft or a warehouse

MA: To be a creative person in Atlanta

I like architecture too but what I like about

and make it look like someone was living

is a conscious choice. What keeps you here?

industrial design is the scale, the tangibility of

there. Whereas DWR goes into real homes.

it. It’s a double-edged sword. I can work on

They ship products all over the country, which

a project and I can hold it in my hands; it’s

costs them a lot of money. No one else does

lot. Work would probably be better for me

accessible. Versus something that takes years

that.

in New York. But in some ways it might be

CH: Networking is harder here, so I travel a

nice to be separated from that, have my own

to complete. But also, architecture is a little bit

MA: Does your work get to be an

more profound. When you actually complete

expression of your aesthetic or is it more

independence from it. Maybe it gives people

something, it belongs to the people in a

about meeting the client demands?

more of an interesting story to talk about:

sense. But I think I just always had an affinity

CH: It’s definitely informed by what the

“Oh, you’re from Atlanta! That’s weird.” But I don’t always feel like I fit in here. I didn’t go

towards objects and the stories that they tell. I

client needs first and foremost, but there’s

always liked objects not necessarily because

room in there to explore my own ideas. I like

to [University of Georgia]. I don’t hang out in

owning that certain object would sort of

modernism but I like to take risks and play

Virginia-Highlands. I don’t wear khaki pants.

change how people perceive me but I just like

with more contemporary ideas as well. They

I wasn’t in a fraternity; I went to art school in

the stories that they tell. One of my heroes

give you a framework to start from, but you

Detroit.

growing up was my great-grandfather, even

definitely want to have your own aesthetic.

though I never got to know him. We had a

They want that too.

CH: It makes for a little more inward

MA: How do you get inspired here?

MA: We are really interested in materials

reflection. I struggle with it a lot and how

of the first time that an object had a meaning

right now with MA. I know DWR asked

being in the South makes up my identity

beyond the sum of its parts. I like that, that

you to use brass on this table.

table in our house that was his. That was kind

you can kind of give an object a life that’s not

because I’m sure it influences me, but

CH: Brass is exploding right now. It’s a

sometimes it’s hard to understand. Is it a different viewpoint that I want to express and

necessarily as apparent as it seems. There’s

reaction to what was before it. That’s what

some meaning to it. I like that, that they can

design is, really. Rebelling against what was

make my own? Or is it one I want to repress? I

tell stories and you can learn a lot about

previous. Stainless steel is out, but it was huge

don’t think you have to be somewhere. There

people from the objects they have. I like the

for a long time. Now it’s going toward warmer

are people like George Nakashima, who lived

romantic stories that objects can hold.

materials. Brass is expensive, and I didn’t

in the woods in the middle of Pennsylvania.

really know that going into it. I used a lot of

He was one of the most famous designers of

brass; that was my main feature, because for a

the 20th century.

I like to go look at antique stores and

thrift shops because you get to learn about the artifacts. You can learn a lot about

long time you would see brass as a secondary

MA: You’ve been doing this for four or

people and cultures and times. I like the

material, an accent. So my idea was to make

five years. What are some things that

tangibility. I went into furniture for a couple

this more of a primary material.

you’ve learned in the process?

of reasons. It gives you the most freedom as

MA: Then you realized there was a

CH: There are the technical aspects that you

a designer. It’s not like you’re going to work

reason it’s always an accent.

pick up, but I think the most important thing

for Nike and everything has to be in the

CH: That’s why this coffee table is one of their

is the softer side of business: how to interact

Nike theme. Nike would be one of the better

more expensive tables. We made a hollow

with people, how to present yourself, how

companies because they’re pretty forward.

casting, which reduces some of the material

to make important connections with people,

But I couldn’t go do power tools. That’s one

and cost. But the brass is not just an accent

how to create long-lasting relationships that

reason: the amount of exploration. And there

here. This is more of a contemporary take on

are meaningful. It’s a lot of strategy when

are relatively small constraints. And I also

the material.

you’re an independent designer. You have to

just like how passionate everyone is in the

MA: Tell me about the suspension lamp

keep some sort of brand value for yourself.

industry. The consumers, the sales people.

that FontanaArte picked up.

You can’t work for a low-end client that does poor manufacturing, then work with someone

That’s interesting to me also. I also like on

CH: I designed it at Hong Kong Polytechnic

the consumer side of things the longevity of

University [in graduate school]. It has a

high end. I’ve been fortunate to work with

products. I can design a piece of furniture and

lightweight quality to it, to look like it’s

two clients that have a lot of respect within

it’s in their catalog for decades if it does well.

floating. That’s really important in design, to

the industry. There aren’t many people who

Versus something that you design, and once

give movement. In China, everyone is closer

are higher up than that.

you’re done designing it you start working on

knit. Families live together for generations.

the next product to take its place the next year.

There’s more dependency, whereas here it’s

So there’s not the obsolescence. It’s more of

more about freedom and separating yourself

an intimate product than most.

from the herd. [In the lampshade], there

MA: That longevity is probably truer of

are all these individual pieces that make a

working for a place like Design Within

larger form. They all work together to create

Reach. Did you intentionally set out to

something. There’s also the sense that it’s

work for them?

about life and how people interact, so it was

Photography by Jason Travis 119

Maybe before I was making design decisions

120

Furniture design gives you the most

The future will house the past

What better place to build the nation’s new center for human rights than MLK’s hometown?

The new National Center for Civil and

The center will present contemporary

Human Rights (NCCHR) will be a LEED-

issues in their social and historical context

certified, sustainable building in downtown

and provides everyday citizens with the

Atlanta. The site, appropriately, lies just a few

information they need to act on behalf of

miles from the historic home of Martin Luther

others.

King, Jr., America’s civil rights hero, as well

as Freedom Parkway and the Carter Center,

that empower individuals and groups of

“The design is inspired by the linkages

commemorating the global human rights

seemingly divergent interests to find common

work of former President Jimmy Carter.

ground,” says design architect Phil Freelon.

The building design, which will feature

a central hub of action cradled between

Why Atlanta? Atlanta was the incubator

for the American Civil Rights Movement,

two architectural walls representing hands,

is one of two cities in the world to house

is an update to the winning submission by

two Nobel Peace Prizes, has built a thriving

architects Freelon and HOK chosen from a

economic reputation, and hosted the nations

design competition held in 2008.

of the world in the 1996 Olympic Games.

Using the power of narrative, the center

Home to prestigious historically black colleges

will explore human rights issues, including

and universities and women’s colleges, the

religion, women’s rights, sexual orientation,

Carter Presidential Library and Museum, and

cultural expression and racial and ethnic

the Martin Luther King, Jr. Historical Site and

conflict, in communities in the United States

Center for Nonviolent Social Change, Atlanta

and across the world.

is a national hub for civil dialogue and global

awareness.

To facilitate this aim, the space will

There is currently no place to go to learn

feature a civil rights gallery, a human rights

gallery, and flexible spaces for events, field

about the history of the Civil Rights Movement,

trips, broadcasts, public gatherings and a

contemporary human rights movements and

retail space designed by the award winning,

how they are connected. The center means to

cross-disciplinary architecture and design

fill that void with unforgettable, multi-sensory

firm Rockwell Group. Permanent exhibitions

experiences.

will include The Morehouse College Martin

Luther King, Jr. Papers Collection. Other

Susan Szenasy will interview the center’s

Metropolis Magazine’s Editor-in-Chief

installations and experiences will change

design architect, Phil Freelon, on Thursday,

frequently, addressing the human rights issues

June 5th, 6:00pm – 9:00pm. This is

in the headlines.

a ticketed event. Information is available at modern-atlanta.org.

121

The center means to fill a void with unforgettable, multisensory

122

Oh! my thank goodness building i Atlanta

1.

Fulton County Central Library Marcel Breuer 1980

The facades say it all, not

just the front but all FOUR sides.

No one does this anymore! And

I grew up in a construction family in Hong Kong. I can recall from

you would have to remind me

an early age wearing a hard hat and doing weekend construction site

it's a boxy building because I

tours with my uncles. I loved the smell of steel, wood, and concrete

wouldn't have remembered thanks

and the enormous scale and power of buildings, both above and under

to the architect's masterful ability

ground. I was hooked from the get-go.

of cutting and chipping. And yes

the angled concrete lines make

Hong Kong and Shanghai Bank by Norman Foster. The open ground

me surrender to his magic of

level entrance plaza connecting two different grade streets, the angled

dissolution. We are truly blessed

lone but commanding escalator that serves as the seemingly sole "path"

Marcel Breuer left this building in

to the building lobby, and of course all those supreme, precise, and

our city.

unmistaken elegant executions of glass, steel, beams, bolts, and cables

Then as a teenager in the early eighties I visited the newly finished

together informed me for the first time of the phrase “architectural experience.” It was life changing to learn that something man-made and new could impact me on such primal level, the way music, art, and cinema can. I couldn’t stop thinking about it and it became an obsession of mine, seeking out buildings that "speak.” This instinctive activity continued when I subsequently moved to Atlanta 25 years ago, visiting first the world famous High Museum of Art. But soon I realized there are many other great and lesser-known buildings in Atlanta that I’m more than happy to say, “Oh my, thank goodness this building is in Atlanta!”

Steven Chan finds ten Atlanta buildings that speak; Fredrik Brauer captures them

2.

Equitable Building SOM 1968

A display of international style and elegance. There is no cluster here.

Pure modern and utopian mindset of the era. "This is a new world!" say the architect and building.

Photography by Jonathan Hillyer

3.

Atlanta Contemporary Art Center renovation bldgs 2013

David Yocum and Brian Bell (of the firm bldgs) are true contemporary architects. Process-driven, informed, analytical, polished, details-obsessed and designed responsibly with human comfort in mind is how today's architects design buildings. David and Brian combine this fountain of

disciplines with their impeccable and clean aesthetics to create buildings that are world-class and most importantly, timeless.

123

124

my, k s this is in a!

7.

4.

Various libraries (Riverdale,

Williams R. Cannon Chapel, Emory

Morrow, Buckhead, Jonesboro)

Paul Rudolph

Scogin, Elam and Bray (now Mack

1981

Scogin Merrill Elam)

Talking about architectural

1988-1997

significance: we have a Modern

and a Post-Modern across from

in the world are cultural or civil

each other in Emory’s campus.

structures. Just like David Adjaye’s

Most people know about Michael

recent libraries in the DC area, we

Most of the best architectures

Graves’s Michael C. Carlos

have a few fine examples of local

Museum but few know about the

libraries done by Scogin, Elam and

Auburn- and Yale-connected Paul

Bray in the late eighties and mid

Rudolph’s Williams R. Cannon

nineties. Some say the best works

Chapel. Great examples of his

are the small projects; and these are

signature planes, sections, and

all great examples of late modern

paths are in full display here. And

and contemporary architectures,

the delicate details such as gutters

which I believe make up an exciting

and handrails are mesmerizing.

period in architectural evolution.

8.

10 Peachtree Place Michael Graves 1990 Michael Graves showed us his 5.

Georgia Tech Power Wrap LP3 2007 Thank you for making this structure, LP3. Perhaps our only example of contemporary utility architecture in our city, it has a great balance of strength, mystery, and static beauty.

signature style with a post-modern building in our city. Any style of architecture is great architecture, as long as it’s approached and designed with integrity, working within the constraints of the budget.

The design of this building is “quiet” compared to Graves’ more published works, but I’m glad this building sits on a main north-south axis of midtown.

9.

One Atlantic Center (or IBM Tower) Philip Johnson 1987 Should we celebrate a commercial building? Why not. After all, it’s Philip Johnson’s first building in our city. (His second was 191 Peachtree.) And it’s forever pleasing to the eyes inside and out—a landmark we are lucky to have.

10.

Hinman Research Building, 6.

G. Wayne Clough Undergraduate Learning Commons, Georgia Tech

Office dA 2011

Bohlin Cywinski Jackson

This renovation project reminds

2012

me loosely of the Tate Modern’s

The most successful buildings are the crowded ones! Simply put, people love to use this building and

Turbine Hall and its power of spatial scale. The clean and precise executions of stairs, plywood

that is reason enough to make the

window frames, and furnishings

Commons great. And I’m certain

are good examples of how simple

all of us have visited BCJ’s projects

design requires an exquisite finish

before, at Apple stores worldwide.

to pull it off, a trademark of much

This work also displays a green roof garden that is part of the firm’s sustainable reputation.

125

Georgia Tech

contemporary architecture. Has architecture changed much since Mies? Sometime I ask.

126

Has architecture changed much since Mies?

Shoemaking is an art reborn

The mission statement of Cord Shoes

and Boots’ is “to build an exceptional product;

Ercolino. Perry has made shoes for presidents

huge interest and love for good design—my

instead of more things.” Founded in 2010 by

and statesmen, as well as Hollywood and

dad is an architect and instilled that in me at

Sarah Green and based in East Atlanta, Cord

Silicon Valley elites. Sarah spent nearly a year

an early age—but making things has always

relies on traditional hand sewn methods to

in the tiny, beautiful town of Doylestown, PA.

been my favorite part of any creative process.

create boots that are comfortable, durable,

The experience and education she received

Even back in school, I always spent way too

and long lasting. Cord focuses on casual

in Pennsylvania were absolutely priceless. In

much time on the models. I derive the most

boots for men and women, as well as a small

addition to apprenticing for a master bespoke

satisfaction when I think I have designed

assortment of leather carrying goods.

shoemaker, Sarah was able to spend time at

something well, and then get to test that

one of the last remaining shoe factories in the

design with my own hands.

US, in Martinsburg, PA, learning about the

MA: What is the most difficult thing

designer at a local non-profit and part-time at

mechanized methods of shoe production.

about the boot making process?

a furniture shop when she first got the notion

to learn the craft of shoe making. It seemed

where she set up a workshop and officially

pretty finicky work. You have to have a lot

In 2010, Sarah Green was living in

Sarah returned to Atlanta in early 2014,

SG: For me, it’s sewing the uppers. That is

strange that a pair of boots could cost $30

launched Cord Shoes and Boots.

of knowledge of your machine and your

at Target or $1,100 if you slapped a designer

material, or else it’s just a big nightmare.

label on them. How exactly are shoes made,

operations producing footwear in the

Nothing in my life has produced as many

and who is making them? After doing some

Southeast. It is often said that shoe making is

expletives as troubleshooting a sewing

research, it became apparent that very few

a dying art. Cord believes that shoe making

machine.

shoes were still being manufactured in the

is an art being reborn. Increasingly, people

MA: What’s your favorite thing about the boot making process?

Cord is proud to be one of the only

United States, and that even fewer people

want to know more about the products they

possessed the tools and knowledge to make

buy: how are they made, who makes them,

SG: Using good material and having a really,

them. Acquiring tools, equipment, and

and what are they made of? Cord Shoes and

really sharp knife to cut it with.

know-how has been an uphill battle that has

Boots is thrilled to be a part of bringing shoe

taken over four years.

making back to this country. Every last one of

SG: Dieter Rams and Richard Neutra.

MA: Who are your favorite designers?

us wears shoes. Cord wants people to know

MA: What do you hope to accomplish

where their shoes come from, so they can feel

with Cord Shoes and Boots?

trying to stitch leather on a small home-use

good about where they’re going in them.

SG: I really enjoy making shoes and boots

sewing machine found in somebody’s trash

pile. It was quickly becoming apparent that

Green was born and raised in Atlanta, GA.

Most of 2010 was spent figuring out

“How the hell does one make a shoe?” and

Cord Shoes and Boots’ founder Sarah

because everybody can relate to them—shoes are shoes. We all wear them. With Cord, I

Cord needed an upgrade to some industrial

She attended Parsons School of Design in

hope to give people an opportunity to really

grade machinery. Sarah found a listing online:

New York City, and graduated with a degree

connect with something they buy and get to

in Architecture with a focus on Affordable

use every day. There has been such a strong

“Industrial Singer Sewing Machine. Really Old. $600.” The seller was Esme Trusty, a

Housing.

movement towards this in terms of knowing

wonderful and kind woman. Her husband,

where your food comes from—Eat Local,

who had been a shoemaker and run a shop

Atlanta where she worked in millwork and

Meet Your Meat, and all that. It seems like

out of their home in New Orleans, had

furniture production shops for several years.

people are seeking out more meaningful ways

recently passed away and she was cleaning

Sarah lived in New Orleans from 2010-2012,

to be consumers. I think Cord is a really cool

out his shop and trying to sell the equipment.

working as a designer at a non-profit

and unique opportunity to bring this attitude

Over the next several months, Sarah spent

providing affordable housing solutions, as well

into your wardrobe.

one evening a week with Esme, having dinner

as working at several furniture shops.

After graduating, Sarah moved back to

and helping her clean out her husband’s

workspace, all the while working on shoes in

a small shoe making shop in 2012. She

her tiny apartment.

spent 2013 in Doylestown, PA, working and

In the spring of 2012, Sarah decided to

move back to Atlanta to be near family, and

127

“Fashion” and “design” seem like two very separate things to me. I have always had a

to inspire our customers to buy better things

New Orleans and working part-time as a

Cord Shoes and Boots is one of the only operations producing handmade footwear in the Southeast

invited to work and apprentice for one of the country’s last master shoemakers, Perry

Sarah returned to Atlanta to set up

studying under a master shoemaker before returning to Atlanta to officially launch Cord

Esme similarly decided to return to her native

Shoes and Boots.

Honduras. Before leaving New Orleans, Esme

offered Sarah any and all machinery left in

boyfriend and one dog, Poe.

her home. It took several truck trips back

MA: When did you realize you wanted

and forth between New Orleans and Atlanta,

to make shoes?

She lives in East Atlanta with one

but now Cord was set up with some serious

SG: I have always loved shoes, but making

equipment. Cord is still grateful to our friend

shoes was never really on my radar. I have

Esme, and we hope that she is happy and

never been that into fashion or clothes. In fact,

healthy in Honduras.

I went to the most famous fashion school in

the country, but studied architecture. I have

The remainder of 2012 and the first

half of 2013 were practice, practice, practice.

just always really enjoyed making things and

Sarah was working in a wood shop in Atlanta,

working with my hands. I started making

and she devoted every spare minute and

shoes as a hobby about four years ago, just to

dollar to shoe making. By the spring of 2013,

see if I could figure out how to do it. But, the

Cord Shoes and Boots was established and

more I learned about how shoes are made

began producing quality shoes 100% by hand

now and how they used to be made, I got

using traditional construction methods.

hooked.

MA: What matters to you most as

wanted to seek additional training and

a fashion designer?

expertise from a master shoemaker. She was

SG: I don’t really put a lot of stock in fashion.

Before expanding the business, Sarah

128

People are seeking out more meaningful ways to be

Paul Rand is everything, everything

Photography by Bethany Legg

Just returned from the MODA (Museum

of Design Atlanta) exhibition Paul Rand: Defining Design. The exhibition, curated by Daniel Lewandowski (creator of the website Paul-Rand.com), juxtaposed Rand’s best known designs with discussions of the design principles by which they were informed.

In addition, short films, interviews, and examples of Rand’s persuasive writings further illuminated this legendary designer’s thoughts on the design process. And even more…

Culled from many collections were

original collages and comps for some key work and many printed pieces that surprised even the most avid Rand fan.

Photography by Shawn Robert Cuni

129

130

Steven Heller on the first retrospective of the graphic designer’s work

To design is to transform prose into poetry 131

132

Steven Chan

restaurant operators can prepare food with

mass-produced? If so, how did that

consistency and perhaps speed. On the

impact the decisions you made?

grower side there will be “good” technology

DVA: The chair was design to be mass-

that’ll help produce organic products

produced, but in a “short-run” kind of way.

affordably. All of us want to eat better for our

The details in the forming methods, joint

bodies, but better food is not affordable to the

fabrication, and assembly are designed with

and founder Steven Chan, who studied

masses currently.

the efficiency of mass manufacture in mind.

MA talked with restaurant owner

urban planning at Georgia Tech’s School of

MA: Tin Drum has been open for

The short-run aspect of it means that there

Architecture, to discuss what architecture,

franchising since 2010. How has “mass

are no special molds or tooling necessary to

industrial design and technology have to do

production” affected your vision for

produce the chair. This affords flexibility and

with the way we eat.

Tin Drum? How will you maintain

economy as the franchise scales.

MA: What is the story behind the name

creative control as it expands?

MA: Is your chair meant to be noticed,

and brand of Tin Drum?

SC: The goal is to “mass produce” very

or purely functional and “invisible?” Will

SC: There are two levels of meanings behind

good cafes with good intentions in all areas:

it be available for purchase?

the name. First, personally it was my life long

food, price point, service, and design. It is

DVA: I imagine some folks will notice the

respect and gratitude to David Sylvian, whose

absolutely not easy and has many ups and

chair as an individual piece, but it is really just

music and words have guided my life more

downs. I truly appreciate all our guests and I

meant to play a part in the mix that drives the

than 3 decades. Tin Drum is the name of an

only promise we’ll always seek out ways to do

sense of place and identity of Tin Drum.

album by Japan, his band in the late ‘70s and

better, and when we make mistakes they hurt

MA: What are the unique challenges in

early ‘80s. Secondly it was the Tin Drummer

my spine. I take them very seriously.

designing for a restaurant?

that we are honoring. You may read his story

DVA: Everything will wear down. Everything

at tindrumcafe.com/story.

will break down. You want guests to be

MA: You grew up Hong Kong. What

elements of Chinese culture do you

hope come through in the restaurant?

David VanArsdale

SC: It’s not necessarily Chinese culture per se, more to do with the street, where things are unexpected, unpretentious, imperfect, chaotic.

Street culture is about the unexpec ted, the unpretentious, the imperfect,

might not want guests to sit around for two hours.

MA: The chair is such an iconic project

for a designer. Is it intimidating, exciting,

both—to be part of such a long and rich

history of design?

all are equal: young and old, rich and poor.

design firm in Atlanta committed to being

We walk the same streets under the same sun.

agents of change for their clients. Who better

intimidation about the history or weight of an

MA: Chain restaurants are not known

to create a chair for the fast food chain that is

object I’m working on. When the comparison

for their architecture; talk about the role

breaking all the rules?

trap gets nasty with objects that have a deep

that design has had with Tin Drum.

MA: What was Steven Chan’s initial

lineage—like a chair, hammer, cup, etc.—I

SC: Architecture is my equal true love

request when he hired you?

just try to stay excited and remember to forget.

together with music. I simply wish I could

DVA: Steven asked me to take a look at Tin

MA: What other items are you working

eventually work my area entirely back in

Drum from an industrial design perspective.

on for Tin Drum?

design, to give uncompromised attention to

This mostly boils down to translation of the

DVA: Steven and I have great design sessions

DVA: I try not to get too swept up with

design. Consumers deserve and should get

vision for Tin Drum into furniture and object

that cover a wide range of objects, details,

good design not only in pricey places, but in

details.

and concepts for Tin Drum. From this we figure out what makes the most sense to focus

low and mid-market concepts as well.

MA: How did the idea for the chair

MA: How does your background in

come about, and what problem was it

in on and execute. Right now this is seating

urban planning and architecture inform

designed to solve?

elements and tables.

the restaurant’s vision?

DVA: The chair had to solve for all the usual

MA: Will we see more design-conscious fast-food restaurants in the future?

SC: One undeniable element of the urban

problems of high-traffic dining, but in a way

environment is affordable street side

that added depth and detail to the overall

DVA: I’m really fascinated by the default

cafes, which is what Tin Drum is modeled

vision and identity of Tin Drum. I think it was

fixtures you find in restaurants across the

after; affordable (max $10.00 per person)

clear from the beginning that an off-the-shelf

nation. It’s like they open a U-Line catalogue

restaurants that any of us can enjoy.

chair wasn’t going to hit the mark.

and search for “dining chair.” As interesting as

MA: It’s atypical for chain restaurants to

default can be, I would love to see more fast

seek out boutique design shops like

DVA: The idea of fixtures in the street setting

food restaurants develop their identities to a

People of Resource as creative partners.

as invisible in their ordinary and raw details

point where there is a natural imperative to

MA: What were you inspired by?

SC: What I have tried to do is very unusual for

is a big inspiration. This is something that

be more design-conscious. Maybe just hoping

franchises. I was excited to work with People

drives the legs and back support to be black,

for better food is enough for now.

of Resource because they don’t specialize in

minimal, thin, but not without expected and

hospitality. But they share a common and

somewhat pedestrian geometry. The seat

global design language. I was hoping to draw

and back draw from my love for a clean,

inspiration and ideas from outside of the

flat tabletop. For me, nothing says, “I am

hospitality industry.

meant for something awesome,” like a flat

MA: Technology and food are closely

plane. In the streetscape where functional

tied in Tin Drum, including self-ordering

improvisation is the norm, an unoccupied

kiosks. Why is technology important to

flat surface (street vendor prep table, corner

you and how will it shape the future of

sale table or artist’s clipboard) stands out in a

how we eat?

special way for me. With this in mind, the Tin

SC: On the consumer side I think technology

Drum chair makes me feel like I am sitting on

has to do with how we’ll acquire food. On

a throne of potential.

the restaurant execution side it informs how

Steven Chan and David VanArsdale are bringing thoughtful design to the world of casual dining

comfortable and have a great experience. You

And the streets are the true place where we

People of Resource is a transdisciplinary

Every thing will break down

MA: Was the chair designed to be

133

Photography by Andrew Thomas Lee 134

One bag fits all

Body Painting The Since 2012, MINI MINI has been the ofHood ficial automotive Art partner of MA Project (miniusa.com).

This year, we’re taking the MINI on an artistic journey to celebrate MINI’s dedication to creativity. The MINI Hood Art Project features MINI hoods rendered by three of the nation’s most talented up-and-coming artists: Bryan Collins, Kevin Byrd and Farbod Kokabi.

See the hoods and meet the artists at the MA Design Expo June 6th at the Atlanta Decorative Arts Center. modern-atlanta. org

Bryan Collins is an Atlanta-based artist

and designer whose work is rooted in the exploration of relationships that exist between

Bryan Collins

color, form, sound and the subconscious. For this piece, audio recordings of a MINI’s engine were processed through an analog video synthesizer and converted to vector art

Atlanta design collective Jay Gray has created a one-of-akind bag that is suitable to every style.

that was rendered in vinyl. Visit unvisible.com to learn more.

Farbod Kokabi was born in Tehran and

immigrated to the U.S. with his family in the mid-‘80s. He maintains existence in Atlanta as a graphic designer for the interactive agency Armchair while simultaneously co-owning and operating the record label Geographic North.

Visit geographic-north.com to learn more.

Photography by Jason Travis

Farbod Kokabi

MA: The bag has already gained a lot of

Simon Gray and Jared Reeder have been

attention worldwide as you’ve traveled

JG: We wanted to make the bag limited and

prototyping a series of hand-dyed leather bags

with it through different airports.

exclusive, not mass-produced, so we found a

that are grabbing the attention of strangers

JG: We carried around our prototype for about

tattoo artist that specializes in tattooing leather.

Kevin Byrd was born in Charleston, SC

everywhere. MA met the team in Simon’s

a year. The traveling businessman didn’t have

It makes the bag more personal. Now you can

in 1976 and received his BA in Architecture

Marietta Street loft, the perfect industrial-

a lot of affordable, signature pieces. We found

literally have a tattoo inside your bag with

from Southern Polytechnic State University.

modern environment for discussing a bag that

that people would stop and say, what’s going

something special to you, as opposed to having

A finalist for the Forward Arts Foundation

meets the needs of baristas, businessmen, and

on with this bag? Where did you get it from? It

a hangtag at the airport.

Kevin Byrd 135

For the past year, Atlanta’s Jason Carter,

MA: What’s next for Jay Gray?

Artist Award, Byrd has recently exhibited

everyone in between.

was a functional piece with style.

MA: It reminds me of the old days when

at MOCA GA, MINT Gallery, and COSMS.

MA: How has the design evolved since

you would get a monogram or your name

Kevin’s work has been exhibited at Los

JG: There were two things that we were

you’ve been testing it?

stitched on the inside. This is like the

Angeles Contemporary Exhibitions, THIS

working from: our reverence for designers,

JG: We had to go back with reinforcing

re-vamped version of that. What will it

LA, One Twelve Gallery, Swan Coach

especially industrial designers and architects,

stitching at the bottom so that the bag wouldn’t

look like to finally release the bag to the

Gallery, and Art Paper’s Annual Auction. He

plus solving the issue of wanting a very nice bag

sink. On the back we did this 11” slit for your

public?

is a Dashboard Co-op artist and Hambidge

to carry with us. All three of us travel a lot and

iPad. When you travel you don’t want to go

JG: This is such a day of discovery. People love

Creative Residency Fellow, and was honored

we were talking about trying to find a nice bag

through the task of opening your bag, so we

to discover things. [At first we thought,] Atlanta

MA: What inspired you to design the bag?

to be selected as a WonderRoot Walthall

that wasn’t a $4,000 Louis Vuitton bag, but that

made an envelope with a quick release.

loves brands: their LV, their Gucci jeans. But

Fellow. His curiosity in industrial plastics,

also wasn’t the traditional Tumi luggage.

we’ve been wrong. People don’t want to carry

geometry and construction details have

MA: Tell me about the process.

MA: Who do you envision carrying your

bags?

the same bag that everyone’s carrying AND

JG: Both ends of the spectrum: tattooed

pay that much. [Our bag] is limited-quality,

informed much of his work, which finds a

JG: The burnishing takes six weeks. For each

central narrative around material itself. Kevin

different tone, it sits in dye and then it dries,

waitresses at Ria’s Bluebird and businessmen

handmade, and tattooed to make it even more

on the street in Barcelona. You’re starting to

different: we’ve found our niche.

is fascinated with the question, “When is the

then it’s painted again for another three weeks.

work finished?”—the provisional nature of art.

It’s raw cowhide. We commission it overseas,

see this paradigm shift of people being more

Visit hello.kevinbyrd.com to learn more.

but the hardware is from here. Everything is

relaxed. This bag really falls right down the

picked out by hand.

middle of that.

136

Journeys & Paths An inspiring panel discussion about challenges & paths to finding success & happiness

SkyView

Chris Hardy

Chris Hardy is an American industrial

designer based in Atlanta. Born in Houston in 1984, he received a BFA from the College for Creative Studies and a Masters of Design from

So you’ve arrived in Atlanta and

Hong Kong Polytechnic University. In 2009

you’re feeling overwhelmed with

he moved back to the United States to begin

everything on your itinerary. Aside

The newest edition to Atlanta’s

his career as a freelance industrial designer,

from your work obligations, you

skyline is a 20 story high Ferris

and has since worked with FontanaArte and

really just want to #humblebrag

wheel that lights up at night. The

This historic neighborhood is

Design Within Reach.

about your adventures on social

potential for amazing pictures is

full of stunning murals. Find

The panel examines the individual

Caitlan Werner

journeys and experiences of young designers embarking on a career in the upper echelons in design thinking and creativity. Moderated

by Hank Richardson, President at the Portfolio Center, a highly renowned international school

for creatives based in Atlanta, J&P unveils

Mamaroneck, NY, and received a BA in English

design’s new voices and emerging creative

Literature and History from Northwestern

media, but you don’t know where

high, my friend. In true Atlanta

them near the intersection of

to start. Don’t fret, the following

fashion, SkyView Atlanta features

Edgewood and Boulevard. When

places are sure-fire spots to blast

a VIP gondola that costs five times

you’re done, have a great meal at

Instagrams that will make your

more than it should. #ferriswheel

TheSoundTable or play drunken

followers totes jelly.

#omg #wtf #iwasntready

University. Always an adventurer, Caitlan

critiques about design today, and their vision in

taught English for a year in Buenos Aires,

shaping the future for the next generation.

Argentina before moving to Atlanta where she

Freedom Parkway

always allow natural light to flood

Krog Street Tunnel

Coca -Cola HQ

Center’s design program. She is currently in

at Portfolio Center, 125 Bennett Street NE,

her seventh quarter and is beginning work on

Atlanta, GA 30309

her final portfolio.

Krystal Persaud

Krystal Persaud is a designer based out of

New York. She graduated from Georgia Tech

This is one of the easiest places

Every rap video in the history of

to capture an iconic view of

the world has a segment from Krog

If you find yourself inside the tower

the Atlanta skyline on foot,

Street Tunnel. Every hipster that

at Coca-Cola HQ, walk over to the

bike, or simply cruising in your

ever used a toy camera has taken

windows and take in the awesome

rental Lincoln Continental. #atl

a picture at Krog Street Tunnel.

view of Midtown. If your phone

#freedomparkway #weloveatl

Okay, both of those statements are

has a panorama feature, use it!

#walkingdead

exaggerations, but during the time

#atl #weloveatl #welovemidtown

it took me to snap this photo, I saw

#cocacola

in 2010 with a B.S. in Industrial Design and

a bro with a camera and a full film

is currently a product designer at littleBits, a hardware start-up that makes a growing library of electronic modules dubbed the “LEGO for the iPad generation.” She strives to create products and experiences that empower and

Philips Arena

educate people, and she is passionate about

Hank Richardson is a member of the

Art Directors Club, an avid teacher, and an inspiring leader in design education at The Portfolio Center. Hank believes we are our best selves when we find and follow our passions.

During his tenure at Portfolio Center, his students have garnered more than 5,000 local and national awards, and his graduates are employed in the most highly respected firms and agencies in the world.

137

the room, making for the easiest coffeegrams ever. #octaneatl #dailycortado #coffeegram #hurryupwithmydamncroissants

Westside Provisions Bridge No visit to Atlanta (Terminus) is complete without a shot of

crew walk by. In all seriousness,

the tracks that made this city.

the Krog Tunnel is one of Atlanta’s

The walking bridge at Westside

Georgia Aquarium

most well known and evolving graffiti spots. #graffiti, #texture, #urbanstyle, #whoarted

bridging the worlds of design and public health.

Hank Richardson

Make a priority to start your day at Octane/Little Tart. Large windows

discovered her calling and enrolled in Portfolio Journeys & Paths: June 7, 6:30pm

Octane & Little Tart

ping-pong at Church. #o4w #edgewood #streetart

Caitlan Werner was born and raised in

talent, their unique stories, attitudes and

Old Fourth Ward

Gramworthy Atlanta

Provisions is great for enjoying a Jeni’s Ice Cream cone and taking a vanishing point shot of the still-functioning railroad tracks. #westsideprovisions #railroad

Atlanta’s new basketball renaissance hasn’t happened yet,

Plaza Theater

#reallygoodstuff

One of Atlanta’s most popular

but when it does, it’ll be here

attractions is the Georgia

at the World’s First NBA Leed

Aquarium. Among the 100,000

Certified Arena. ESPN cameras

living specimens are four whale

will pan across the giant ATLANTA

sharks, four beluga whales, eleven

wordmark and you’ll exclaim, “I

bottlenose dolphins, four manta

have a picture of that on my

Atlanta’s oldest operating cinema

iPhone!” #hawksgame #atlshawty

shows The Rocky Horror Picture

is nearly impossible to leave the

#hawksbros

Show at midnight every Friday,

aquarium without filling your

featuring a live performance and

camera roll with great shots. The

rays, and an albino alligator. It

simultaneous audience

real problem comes down to what

participation. The real star of every

you’ll want to post online. Edit,

evening is the theatre’s classic

edit, edit. Don’t kill your followers

neon marquee which looks great

with 29 fish pics in a row.

during the day or at night.

#meetadolphin #underthesea

#plazatheatre #rockyhorror

#albinoalligator #whaleshark

#indiefilm

#sharkselfie 138

#shitoutofluk

When you really just want to #humblebrag á la Larry Luk

139

140

The stuff that grea design is made of Presenting the best in material design from the past year

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142

ff at s f

De Castelli

MA is growing our obsession with

BAUX

iFlame

Teknion

PLH

materials this year by highlighting innovations from around the world. Companies like BAUX,

De Castelli was founded in 2003 by

BAUX is founded on the belief that

“We wanted to play with fire,” say iFlame’s

PLH began in 2006 as a way to satisfy the

Designed by Jeffrey Bernett and Nicholas

iFlame, De Castelli and more are coming

Albino Celato, who comes from a long line of

building materials should be surprisingly

creators, “creating something useful and nice

end user’s need for customization regarding

up with new ways to make materials more

Italian blacksmiths.

functional and remarkably beautiful. BAUX

for man, in harmony with the planet.” The result

products that had not kept up with the pace

Seating Group was conceived with two im-

functional and more beautiful. As they are

designs, produces and markets construction

was the bio-fireplace of the third millennium,

of design over the years. With Makeup, Skin,

portant criteria in mind: to support the worker and groups of team-based workers in open

Iron, along with wood and stone, is one

Dodziuk for Teknion Studio, the Fractals™

the substance of, and starting point for, any

of the three valuable natural materials that

materials that meet the contemporary

designed and produced entirely in Italy.

Keyboard, Neo and 24K, PLH has tackled one

great design, we are finally pulling materials

man has used since the very beginning to

expectations of architects, engineers and

of the most banal objects in everyday life: the

and collaborative environments, and to pro-

out from their place behind the curtain and

create useful tools and artifacts. De Castelli

builders, without compromising safety and

complementary pieces to transform iFlame

light switch.

vide a modular program that, in its articulation,

placing them front and center.

Continuing to “play,” the creators added

designs iron products for the home and

environmental standards.

into an integrated furnishing system, allowing

outdoors, successfully combining this beloved

infinite combinations that could be customized

BAUX is a joint venture between

PLH is owned by Epic Srl. With a

technical background as an industrial engineer,

creates a new level of planning.

Fractals includes three simple pieces: a

handcrafting tradition with the most advanced

entrepreneurs Johan Ronnestam and Fredrik

according to space and taste.

Enrico Corelli, CEO of Epic Srl, has always

lounge chair, an ottoman/bench and a settee,

technology.

Franzon and the founding members of

maintained his passion for art alongside his

with a lower or an optional higher back that

design studio Form Us With Love: Jonas

simultaneously heats, furnishes and illuminates,

interest in the technical profession of electrical

creates a degree of surround and privacy.

Pettersson, John Löfgren and Petrus Palmér.

bringing a warm atmosphere to any room of the

engineering, and in building automation

Boldly innovative and visually compelling,

house—not to mention offices, clubs and bars.

specifically.

Fractals open up new planning possibilities for

iflame.it

contemporary, forward-thinking

A new collaboration is underway in

the form of the De Castelli Edition brand, a collection of products from Michele De Lucchi,

“We think building materials is one of the

Aldo Cibic, Ramon Esteve and Philippe Nigro.

most exciting design opportunites out there

The new designs recall objects with familiar

right now; we’re here to explore an area

shapes that, due to a change in scale or use of

With its forms and colors, iFlame

The opportunity to collaborate with

internationally famous Archistar let him to

environments. The surface planes, volumes

where design values hasn’t been present

try his hand at product design as well, first by

and modularity of the pieces are intended

unusual materials, acquire new meaning and

before,” they say.

designing several lighting devices and then

to create a broad canvas on which to use

generate an unexpected visual and emotional

creating a line of PLH® commands, which

a variety of colors and textures to create

The BAUX Träullit collection of wood

impact.

wool acoustic panels is a canny combination

today are among the most recognizable

distinctive looks. Fractals is not limited to the

The entire De Castelli production

of form and function. Available in a range of

products of their kind on the market.

contract market, but is also intended to work well in contemporary hospitality and

is distinguished by the fine quality of its

vibrant colours, the BAUX Träullit collection

construction, expressed in the meticulous

combines excellent sound absorption with

commercialized by Epic Srl, was developed

residential settings.

attention to details and the handcrafting of all

a natural capacity for heat and moisture

by the Epic Style Center and Technical Office

teknion.com

the finishing and decorating work.

regulation.

in collaboration with Alessandro Gaja Design,

decastelli.it

Studio Tecnico Corelli for the electrical

BAUX Träullit panels can be combined

to create remarkable structural patterns

MakeUp®, the first product

engineering, and the technical offices of

for residential, industrial or public spaces.

several electrical contractors for the assembly

Benefits include lower energy costs, a

and installation systems.

reduced environmental impact and a stable

plhitalia.com/it/home

indoor climate. baux.se

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144

Materials must come first John Cantrell pays a visit to Georgia’s own LG Hausys

41% pre-consumer recycled content, down

treatment. This procedure makes HI-MACS®

Visual Design from Seoul, and luckily we were

with an expert in healthcare interior design.

in Adairsville, Georgia my first impression

to the RCO (Regenerative Catalytic Oxidizer),

different from other types of acrylic stone,

able to chat and ask a few questions about her

Collaboration with other designers inspires me

was the surprise of the intensely natural

equipment for emission destruction through

giving it better uniformity and making it more

unique position within the company.

to get great ideas so that I can develop more

surroundings and vibrant wildlife right up

the process of thermal and catalytic oxidation,

resistant to shocks and UV rays.

JC: Yuri, thanks for sitting down with us

creative products.

against the site boundary. The crickets were

converting the pollutants and VOC’s to carbon

to discuss your expertise and background.

JC: How often do you work in the lab for

loud and the scenery vast. Not what you’d

dioxide and water vapor while reusing the

felt more like what you’d expect from a stone

With so much technical focus on the

HI-MACS and Viatera products?

expect from a manufacturing facility producing

thermal energy generated to reduce operating

quarry, except rather than mining for the

development of both product lines, where

YJ: After conception, I usually stay in the lab

some of the most innovative, highly-technical

costs.

stones themselves, they are manufacturing

do you get your inspiration?

every day making prototypes. Our material

quartz and solid-surface product on such an

the stone slabs with up to 93% quartz content.

YJ: It’s difficult to pinpoint exactly where I

cannot be designed by just drawing up some

enormous scale for the entire United States.

product compositions are very different. The

The enormous mixers for creating custom

draw my inspiration. I draw from my memories

patterns on a computer at a desk. New ideas

LG Hausys is a part of LG Group.

HiMACS plant was impeccably sterile and

stones are aided by the Breton technologies

of past events, even minor ones, and recall

for designs materialize while making prototypes

Founded in Seoul, Korea in 1947, LG Group

precise. As we were toured by each of the

that the factory incorporates to allow them to

them when creativity is needed. My inspiration

by hand. Finally, the desired design can be

has grown to be a global leader in the

plant managers, the older HiMACS plant was

design using unique veining and marbling with

comes from the way I look at my surroundings.

made. I would say I spent more than half of

chemical, electronics, telecom and service

clean, mostly because the process of creating

remarkably concise accuracy and consistency.

JC: Are there any visual differences you

2013 in the lab.

industries. LG Hausys is born from LG Chem’s

the polymerization of acrylic into an “acrylic

Also, watching the slabs move around and stored

see working across various countries,

JC: I know LG Hausys publishes their

spin-off in 2009. Employing more than 3,500

stone” gives it hardness like a simulated stone

at the facility is like stone as well, with slabs that

cultures and markets?

trend research from the year in a beautiful

employees around the world, LG Hausys

yet nonporous and anti-microbial capabilities

are all a jumbo-sized 63 inches in width.

YJ: The design preferences are different in

guide. How do you foresee that assisting

globally offers several highly functional

while still maintaining a thermo-formable

various countries. Even within the same

designers with their own work?

materials components and surface materials,

elasticity that allows it to conform to almost

country, depending on the region, the same

YJ: The LG Hausys Design Center collects and

to which HI-MACS® (solid-surface) and

any shape imaginable. Its chemical make-up

material may be used for different applications;

analyzes global design trends and announces the

Viatera® (quartz) belong.

and unique dual-sided sand finishing process

even preferred colors and designs may differ.

interior design trends at the end of every year. All

gives HiMACS an advantage for fabricators

For example, HI-MACS has widely been used

designers of LG Hausys reanalyze and reflect on

as a material for furniture as well as counter

the trends guide for their particular design.

tops in many European countries. However, in

JC: Thanks again Yuri. For all of you out

the United States, HI-MACS is mainly used in

there reading this who haven’t obtained a

Upon arriving at the LG Hausys facilities

In 2005, LG Hausys chose its location

The two plants are very different as the

The second plant for Viatera products

Designer Yuri Joung

in Adairsville not only for its incentives and

to work with as it’s not quite as brittle as most

convenient transportation infrastructure

solid-surface alternatives.

but also for its highly-skilled manufacturing

employee base and consistently favorable

Design is Material exhibition and saw the

new Viatera quartz products is where LG

counter tops. So, we need to create the designs

copy of LG Hausys’ limited-production

weather conditions. In 2011, LG Hausys

interactive bench and table with embedded

Hausys’ in-house designers spend most of their

depending on countries and applications.

annual trends-analysis book, seek it. You’ll

also opened the manufacturing facility of its

touch-sensitive back-lit LEDs developed by

time tweaking and experimenting. During our

JC: How often are you working with other

be glad you did.

Viatera Quartz surface product, making it

NunoErin, then you saw LG Hausys HiMACS

tour we were able to catch up with one of

designers for new product lines and

the only plant in the Americas making both

material, which created the seamless and

the few in-house designers within the United

ideas?

HiMacs and Viatera products.

faceted piece of sculpture, showing its unique

States, Yuri Joung.

YJ: About once or twice a year, we collaborate

translucent qualities at their best.

with other designers in other fields or industries

sustainable features from material recycling

Hausys America and has been in the States

for new products or ideas. I collaborated with a

processes of scrap into new product lines

MACS® is heated to very high temperatures

since 2012 but has been with LG as a designer

color consultant for a new Viatera project and

such as HiMACS Eden Plus, containing up to

by means of an advanced firing heat

since 2007 in Seoul, Korea. She has a degree in

developed the HI-MACS healthcare collection

The manufacturing facilities both boast

If you were around for the 2013 MA

During the manufacturing process, HI-

Working with customizing and developing

Yuri is a senior product designer with LG

Leonardo Glass Cube

Guangzhou Opera House by Zaha Hadid

Location: Bad Driburg, Germany

Location: Huajiu Road, Tianhe District,

Design: 3deluxe

Guangzhou city, Guangdong – China

Fabricator: Rosskopf & Partner AG

Design: Zaha Hadid Architects

Photographer: Emmanuel Raab

NunoErin touch-sensitive Diamond Coffee Table

Fabricator: Gooday International

Yuri Joung

Material: HI-MACS® Alpine White

using HiMACS in Alpine White

Material: HI-MACS® Alpine White

Photography by Fredrik Brauer

145

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Inspiration comes from my

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American serifed typeface released

on emerging mediums, Armchair

strokes, and lack of serifs. Lewis Blackwell described it as “An attempt

a French sans serif designed in the early 60’s by Roger Excoffon (1910 – 1983) and issued through Fonderie Olive between 1962 and 1966. What these two typefaces

organic.

new visual updates: a primary color scheme, typography and hand lettering, and spatial

Cooper and Antique Olive works wonderfully through contrast in the same way that opposites attract.

American [Mid-Century] Modernist movement, and designers Paul Rand, Max Bill and Josef Albers.

4. Terminal: The typographic

5. Serif: A small cross-stroke at

was born and raised in Auburn, SCAD in painting in 2009. His artwork has been featured with Dashboard Co-op and in galleries

in Grenoble, France, she briefly known for its heaviest weight Cooper

Neon Hiss (pp. 139-140) is

Jason Peters (pp. 81-82)

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work has been exhibited at Los

Reference: typedeskref.com The Type Desk: typedesk.com

company. In 10 countries and on

diverse global customer base.

processes are relief, screen printing, and photosensitive

innovative print and media solutions for all platforms, serving a

4 continents, Elanders provides is an Atlanta-based illustrator

Craig Cameron (pp. 181-182) and artist. His principal printing

Sweden in 1909, Elanders is a global printing and media solutions

Art Paper’s Annual Auction.

1965

The Typographic Desk

Elanders family. Founded in MINT, Swan Coach Gallery, and

and color coding. principal editor of The Type Desk. He

THIS LA, One Twelve Gallery, First proof of Cooper-Oldstyle, 1918

lives in Atlanta.

newest members of the worldwide

Angeles Contemporary Exhibitions, addicted to 90s music, iced coffee,

Located in the quaint little town of Acworth, it’s one of the

at MOCA and MINT Gallery. His Emory University graduate

ElandersUSA

Award, Byrd has recently exhibited

Printer Amanda Altmark

Forward Arts Foundation Artist

State University. A finalist for the

from Southern Polytechnic

received his BA in Architecture

private collections.

the High Museum of Art and other

is in the permanent collection of

2013 by The Atlantan. His work

was named an Artist To Watch in

sculpture in 2011 from SCAD. He

Institute and received a BFA in

The Typographic Desk Reference and

Theo Rosendorf is author of

Roger Excoffon

Project Manager

Kevin Byrd (pp. 21-22) was born in Charleston, SC and

based boutique record label

Nathan Sharratt (pp. 75-76) studied film and animation at Pratt

sound.

Kunsthaus Zürich Poster, Max Bill,

Oswald Bruce Cooper

Swiss and the Keddz and Okay Failures.

primary designer for the AtlantaGeographic North.

musical projects include fiddling with his 4-track in his garage, Kay

he cooperates and serves as

Paul Rand, 1956

wide-ranging projects. Additionally,

Hot Iron Press. Kyle’s most recent

into nearly all of the company’s The Anatomy of Revolution cover, Air France Boeing 747-100

member of the artist-run gallery The Front and also cofounder of

Armchair, his work is incorporated

of New Orleans. He is a founding

with his family to America in the mid-’80s. As a designer for

and works in the upper 9th Ward

was born in Tehran and migrated

media, most recently favoring

ecstatic vibrations into multiple an artist and musician who lives

Kyle Bravo (pp. 113-114) is Ernest G. Welch School of Design,

create collaboratively, channeling Farbod, a graduate of the

customers.”

and WonderRoot.

Farbod Kokabi

postage stamp

touted by Cooper as a typeface “for far-sighted printers with near-sighted

Dark Daughter and Teah Elk. They

Swan Coach House, Beep Beep

Phoenicians are comprised of

such as Kibbee, Young Blood,

trained to be a pastry chef before deciding to study graphic design.

Antique Olive on German DDR

best selling typefaces in 1926. It was

Alliance NY.

Gallery CA and The Time Square

Art Center KS, The Robert Berman

Fe NM, Sculpture Space NY, Salina

Center for Contemporary Art Santa

Center for Contemporary Art NE,

White Flag Projects MO, Bemis

The Pulitzer Art Foundation MO,

Oklahoma City Museum of Art OK,

Katonah Museum of Art NY,

from The Mattress Factory PA,

residencies at and commissions

in 1999,​and has since earned

Maryland Institute College of Art

graduated with a BFA from

of neon.

gentility and ferocity. That plus lots

same big city. They are equal parts

woods who found their way to the

Malone, two dames from opposite

Courtney Hammond and Beth

collective, The Front.

the Ambassador of the artist-run

Center in New Orleans.​He is

Black, which was one of the world’s

Born in Germany, raised

Alexandra Rancier

Alabama. He received a BFA from in 1922 through Barnhart Brothers

Georgia Tech.

Sean Abrahams (pp. 45-46)

& Spindler, Cooper Oldstyle was best

Bruce Cooper in 1921 and released

media at Portfolio Center & w

graphic design and experimental

—Theodore Rosendorf

1. Designed by Oswald (“Oz”)

space with contemporary art.

best-selling typefaces and taught

Dashboard Co-op, an experimental curatorial project that ignites raw

of the Arts, Stefán has designed

altogether: one that is playful, yet oddly intriguing.

The art you see is by

A graduate of Iceland Academy

aesthetic that predates typography

—Stefán Kjartansson

Artists

both draw from the same sort of

like Coca-Cola, CNN and the SAT.

projects for a wide range of clients

were sketched 40 years apart, they

book a dissonant rhythm and a forceful forward-moving motion.

to his surroundings.

Magazine. He has directed major

Review, Print Magazine and I.D.

food and baseball. Photography is the best way he has found to relate

lacks. And although these faces

design publications like Creative

His work has been featured in

major interactive design award.

that has won Armchair every

Loves his family, friends, jazz, good

in Boston, Chicago and Atlanta.

Born in Stockholm. Lived

Fredrik Brauer

One provides what the other

character. Also written as ceriph.

As Creative Director of

Armchair, Stefán oversees a team

Stefán Kjartansson

Photographer

been featured in Prospect 1.5, The Ogden Museum of Southern

since), extra-fine-point pens, and clean lines of writing.

Art, and t​he Contemporary Arts

loops and site-specific multimedia installations. His installations have

2012 and has been drinking ever

He found his calling creating video

are the three-ingredient Negroni (which she met at a MA event in

storytelling and giving the overall

the end of an arm, stem, or tail of a

containing a serif.

feature at the end of a stroke not

brands, Fortune 500 giants and innovative start-ups.

University, Universiteit van

so much Southern creative energy.

Amsterdam, and Tulane University.

feels lucky to live at the center of Among her modern collectibles

He studied at the Middle Bucks Institute for Technology, Temple

partnering with visual people and

playful, aimed at heightening

The layout is utilitarian yet

together on the same page.

red, a palette inspired by the This quirky pairing of

once at odds, until you see them set

design, electric blue and tomato midline, waistline, or x-line.

lowercase letters without ascenders or descenders. Also called meanline,

while Cooper Light balloons with oddly rounded serifs5. They’re at

In a similar way, the new

colors are from the golden age of

3. X-height: the height of

has sharp vertically cut terminals4,

the functional nature of modernism.

Armchair has served consumer

logo prior to their merger with KLM.

Olive was used in the Air France

quite an odd couple these two.

Antique Olive is top heavy and

Cooper Light. They introduce an organic element that collides with

factory on Atlanta’s Westside,

France.” A custom version of Antique

similarities stop. In fact, they’re

Antique Olive and Bitstream

technologists and programmers.

Located in a renovated soap

but it was too characterful and too late to be widely adopted outside of

have in common are large x-heights3, but that’s where the

The new typefaces are

of digital strategists, designers,

was established in 2001 by a team

experimentations.

presented by Helvetica and Univers,

to offer a more refined sans serif than

A design agency with a focus

The book introduces a few

and thin strokes, somewhat closed

Antique Olive bold condensed2:

and craft, the modern and the Armchair

minimal contrast between thick

Oldstyle1. The titles are set in

between vintage and new, process inner forms, vertically terminating

as a grotesque sans serif for its

Cooper’s (1879 – 1940) Cooper

tradition and strikes a balance

Graphic designers

in 1986 and based on Oswald

was born in Philadelphia in 1982.

Dave Greber (pp. 147-148)

Atlanta.

from Utopia Paper. intimidating modernists, she loves

Swedish lighting designer’s bio to

lb. Cover (9pt.) 270 gsm. All paper

Printmakers Studio. He shows work regularly throughout the city of

interviewing some of Atlanta’s most

words since 2011. From editing a

and cover is Utopia Two Dull, 100

A lit-nerd-turned-copywriter,

Acree has helped MA form

Two Matte, 80lb. Text, 118 gsm

Acree Graham

Board of Directors of the Atlanta

This book is printed on Utopia

Dashboard and serves on the

the Program Coordinator at

plate lithography. Craig us also

Editor

Paper

the previous years’ graphic design 2. Antique Olive is categorized

Bertsch & Cooper

The 2014 MA book builds on

Hand lettered ad for

This issue’s principal text is

Typography set in Bitstream Cooper Light: an

Design Direction

Between he covers 179

181

182

183

184

185

186

187 188

Dawson Architects

glass, the result is a tactile crossroads of the

Architects, in association with

reinforces visual contrast of scales, contributes

Lord, Aeck, & Sargent

of advanced technologies, such as a high scales. Articulating a distinct perspective on and Sunday June 1. There are no guided tours. Show your ticket for entry.

efficiency lighting systems, and a mechanical system designed to maximize energy

international visitors for centuries to come.

design promotes a thriving canopy of native Cathedral Live Oaks via subterranean root paths. On-site treatment of storm water, despite the museum’s tight urban parcel, captures all runoff from the building and courtyard, reducing total suspended solids by 80%, phosphorus by 49%, and petroleum hydrocarbons by 90%.

character into a formerly disinvested district.

The site features bicycle parking, a public bus stop, and student transit. By tying into existing public parking facilities, it frees horizontal spaces for a landscaped courtyard.

The material palette reuses standing ruins as exterior walls, recycles masonry for sidewalk pavement and courtyard surfaces, and

the country. Located in an industrial district the museum’s footprint intentionally links the site’s historical and geographic context with its new role as a hub for intellectual exchange, social interaction, and economic development. Evolving through drawings and watercolors, the design process emphasized

required in a Southern climate. The site it extends Savannah’s pedestrian-oriented surviving antebellum railroad complex in on the west boundary of Savannah, GA,

shade the south-facing glazing, address the rigorous temperature and humidity controls

implementation of sustainable systems. Sited on the boundary of a walkable city center,

82,000-square-foot contemporary art museum that reinvigorates the ruins of the only

efficiency. Wooden louvers, calibrated to stewardship through adaptive reuse and the

The project advances ecological

renewal, designed to serve Savannahians and

The SCAD Museum of Art is a new

www.scadmoa.org

thermal performance exterior wall and glazing envelope, day-light harvesting, high

convergence, the museum is an eloquent

The museum implements an array

expresses both monumental and humanized Saturday May 31,

Wolverton & Associates

linear feet of streetscape improvements, as Interior Design: SCAD Design Group

last centuries rather than decades—the first

by a local millwork shop. The composition of brick, concrete, and cast glass is built to

support spaces. The project includes 800 Landscape Architect: Sottile & Sottile

principle of genuine sustainability.

timbers were transformed into interior finishes screenings, special events, and various

well as a 1.6-acre public garden. With an

courtyard and streetscapes. Historic heart pine west wing houses a theater for lectures,

Interior Designer: SCAD Design Group General Contractor: Carson Skanska

aesthetic rooted in clarity, the museum’s form

were re-used as flooring and pavement for the

Special Note: Tour hours are 12pm–4pm,

disposal. Over 70,000 bricks from fallen walls into two wings. The east wing consists of galleries, art studios, and classrooms. The

Square Footage: 82,118 square feet

divides the internal program of the museum

Year Completed: 2013

past and future. In addition, the intensive use of salvaged materials limited off-site waste

a landmark feature to Savannah’s skyline, and

Integrating a curated range of new materials, including brick, concrete, and cast and materials. An 86-foot tall glass entrance

Sottile & Sottile and

Architect :

finishes.

Savannah, GA 31401

honors the site’s handcrafted foundation

601 Turner Boulevard,

Location:

a contemporary learning laboratory that

reclaims timber from fallen trusses as interior an artistically manual approach, creating

Project Name: SCAD Museum of Art

SCAD useum

Sottile & Sottile and Lord, Aeck, & Sargent Architects, in association with Dawson Architects

189 190

11am – 4pm. They will offer two guided tours of at 1:00pm and 3:00pm. ADAC is closed on Sunday, June 8.

Originally consisting of two long, parallel, one-story

design enthusiasts alike.

ADAC from a hidden gem into a beacon for designers and

dynamic sculpture grouping “South Music” helped transform

two restaurants. The 2007 addition of artist Angel Orensanz’s

over 500,000 square feet of showrooms, designer offices and

warehouse buildings known as ADAC West currently house

buildings, ADAC’s five-story main building and two adjacent

to meet the color matching needs of design professionals.

architecture, provides abundant natural light, which is critical

West. The atrium skylight, a hallmark of John Portman’s iconic

significant project expansions including the addition of ADAC

growing interior design trade in the region has resulted in six

of ADAC, the Atlanta Decorative Arts Center, in 1961. The

for high-end design, John Portman developed the first phase

Recognizing the need for a central hub in the southeast

ADAC Tour hours are Saturday, June 7,

Special Note:

verify)

1961 550,000

John Portman & Associates

Year Completed:

John Portman & Associates (need to

Atlanta,GA, 30305

Architect:

Photo Credit:

351 Peachtree Hills Avenue, N.E.,

Square Footage:

ADAC (Atlanta Decorative Art Center)

Project Name: Location:

Atlanta ecorative Arts Center

John Portman

191 192

935 Custer Avenue SE, Atlanta, GA 30316 TaC Studios, Cara Cummins, AIA and JosĂŠ Tavel, AIA

Architect:

Deep overhangs allow for protection from rain showers.

the home and placing the pool in full southern exposure.

courtyard windows face north, allowing consistent light into

areas allows transitions that are not confining. The

flow from studio to living areas, and then to the bedroom

greets each visitor. Wanting a simple one-level home, the

by the courtyard’s wall panels, and the sound of water

single lane swimming pool. A play of light is created

home was planned around the private courtyard and

Avenue, the home is barely visible among the trees. The

Designer Walter Mazzanti, in 2004. Sited above Custer

This home was originally designed for the Interior

Michael Tavel

1800 sq ft,3 bedrooms,

Square Footage: Photo Credit:

Year Completed: 2005

Custer House

Project Name: Location:

Custe House

TaC Studios

bldgs

the upper level, bringing natural light into the center of the plan. This space also allows communication

plan. On a smaller scale, but in a similar fashion, there is

ramp, leading to the front door near the back of the

produced extremely narrow residential lots with small,

to the outdoors. As the mass of the house is broken into a play of smaller volumes, the windows form

eight-lane freeway was cleared through the undulating terrain before the project was halted, leaving an open 194

volumes and wall planes. On the exterior the windows are detailed to be slightly recessed, without visible frames, highlighting the qualities of the glass itself and

Freedom Parkway was constructed, complete with overpasses and on-ramps, creating a beautiful park in its wake and connecting our site to various parts of the city.

reducing the need for electric lighting during the day.

to maximize the variety of indoor-outdoor spaces while captured in the interior and vice-versa.

creating layers of interior privacy. Outdoor spaces are

membrane, passive ventilation (using the skylight to

wall assembly, spray-applied insulation, white roofing

½ bath house, addressing the traditional street frontage

create a chimney effect) and massive amounts of daylight

sustainable features of the house include a rain-screen

urban context. The program called for a 3-bedroom, 2

The program was carefully stacked, shifted and pulled

panels that form the exterior cladding. Primary

(light, air, access to outdoor spaces) in a very constrained

while preserving as large of a “backyard” as possible.

integrating into a system of almost black, hand-painted

urban setting, to realize the promise of suburban living

The house is a controlled experiment within this

larger groupings that dissipate into individual windows, dissolving the perceived containment of the box-like

scar for the next thirty years. Finally, in 1993, the

The windows are located to maximize exposure

back yard.

80 years of declining investment and neglect brought

bedroom above, with a stepped ramp descending to the

spared from the Great Fire of 1917. The subsequent

making it prime for “urban renewal.” In the 1950s an

room opens onto a raised deck, covered by the guest

This area of the Old Fourth Ward was narrowly

about the destruction of over 50% of the neighborhood,

important. The dining room and kitchen open toward the street with a tall, screened porch. The main living

cars or garages.

house from the inside-out—it is a non-linear sequence that presents the front yard and back yard as equally

shotgun houses from the narrow street. There were no

house. From this vantage, you re-engage the front of the small garden and front porch were all that mediated the

free-standing houses located very close together. A

The entry approach is up a partially covered

door between the main level and the mezzanine.

a vertical communicating space upon entering the front

city radius. The original platting in this area of Atlanta

The house is situated on a street in Atlanta’s Old

Fourth Ward neighborhood, just inside the 1874 1.5-mile

between the upper and lower plans, creating a vertical

bldgs – Brian Bell and David Yocum

indoor-outdoor space precisely at the deepest part of the

30312

Architect:

The main level is a lofty, double-height space with an office mezzanine and a large skylight that pierces

Photo Credit: bldgs

225 Corley Street NE, Atlanta, GA,

Location :

Year Completed: 2008

Florian-Hart House

Project Name:

lorianHart House

193

195 196

115 N. McDonough St, Decatur, GA 30030

3000 sq ft Mali Azima

Square Footage: Photo Credit:

and Inman Park.

view of Midtown Atlanta and the forests of Druid Hills

as an outdoor terrace and movie theater that frames the

bathrooms. The fourth level is the rooftop which serves

kitchen, dining and living area, two bedrooms and two

on the second level. The third level is residential with a

gallery on the street level and a new office and studio

plate. The project contains a storefront modern art

air rights to the driveway expanding the usable floor

void; or cast the allowable zoning. They purchased the

existing buildings, the design team set out to cast the

artist Rachel Whiteread and her concrete castings of

allowing a more urban interaction. Inspired by the British

changed from suburban setbacks to zero lot line zoning;

Oakhurst and the Decatur Square. The zoning recently

downtown Decatur and forms a threshold between

This urban project is located in the heart of

Lightroom LLC

Contractor:

William J. Carpenter

Architect:

Year Completed: 2011

Lightroom 2

Project Name: Location:

Lightroo

William J. Carpenter

197 198

Brian Ahern and Jeff Darby of Darby Construction

This home is the third in a series of small

unusual spots to capture light in unexpected ways.

is unobtrusive. Windows are placed in random and

floor, sleek European-style cabinets, and door trim that

on the main level, random-width oak on the second

house. Details are kept to a minimum: concrete floors

collage on both the north and south elevations of the

envelope. Cementitious panels are used to create a

become more than just a means to enclose the building

a masonry “frame” that allows the siding to figuratively

Reynoldstown area. The idea for the house is to create

modern houses on Pearl Street in the Cabbagetown/

craftspeople the task of making each home unique.

for all phases of construction, leaving the trades and

the Atlanta area. We used readily available materials

for each home. All vendors and suppliers are local to

kept to a bare minimum. Construction took five months

windows and spray foam insulation. Interior trim is

this look. All 3 homes use energy-efficient aluminum

are fairly modest homes. Flat roofs also help achieve

and porches. This allows for dramatic massing in what

in some cases actually extend out over exterior patios

being in a contemporary space. Ceiling levels vary and

is practical and can immediately evoke a feeling of

homes have concrete floors on the main level. Concrete

common characteristics, they are all distinct. All three

an unexpected exterior space. While all 3 homes have

simple: 3 bedrooms, 3 baths, open living space, and

Moderns,” if you will. We kept the plan requirements

build affordable yet playful modern homes, “Baby

Construction in 2012 and 2013. Our idea was to

and built by Brian Ahern and Jeff Darby of Darby

184, 194 and 200 Pearl Street were designed

Fredrik Brauer

2,150 sq ft

Square Footage: Photo Credit:

Year Completed: 2012-2013

30316

184 Pearl St SE, Atlanta, GA Architect:

184 Pearl Street – Modern 3

Project Name: Location:

184 Pear

Brian Ahern

199 200

194 Pearl St SE, Atlanta, GA , 30316 Brian Ahern and Jeff Darby of Darby Construction

Architect:

other “baby modern” homes on either side.

covered upstairs deck sets this home apart from the two

use and adds an additional room to the home. The

seating and a built-in fireplace invite almost year-round

living space. The upstairs’ roofed deck with comfortable

room, bringing the patio and outdoors into the overall

floor plan, but also with glass French doors off the living

of the main floor was achieved not only with the open

indoor and outdoor living. The inclusive and social feel

and upper floor is the blur of boundaries between

pivotal element of the home’s design on both the main

194 Pearl was completed in November 2013. One

Fredrik Brauer

2,100 sq ft

Square Footage: Photo Credit:

Year Completed: 2012-2013

194 Pearl Street – Modern 2

Project Name: Address:

194 Pear

Brian Ahern

Brian Ahern

2012-2013 Brian Ahern and Jeff Darby of Darby Construction 1,950 sq ft Andrew Thomas Lee

Architect:

Square Footage: Photography:

202

roof and clean exterior lines.

the modern design of the main house, mimicking the flat

features a small studio/storage building that complements

feature that runs along one wall of the home. The residence

yard and future herb garden, as well as the subtle water

bedroom suites. The outdoor terrace overlooks the side

space and can be enjoyed from the rooftop terrace off the

a green roof that insulates a portion of the main family living

neighborly conversation from passersby. The home features

space, inviting walkways and front-facing patios welcome

of curiosity, invitation, and exploration. Open outdoor

and commerce centers, the home carries forward the idea

Atlanta. Just blocks from the Beltline and local community

lot in the Reynoldstown/Cabbagetown neighborhood of

three to be built. This single-family residence sits on a level

The home at 200 Pearl was the first of the series of

200 Pearl Street SE Atlanta, GA, 30316

Year Completed:

200 Pearl Street – Modern 1

Project Name: Location:

200 earl

201

203 204

the space, the glass wall between the master bedroom and

exterior glass which allows one to see the entire length of

art while textured fabrics and rugs contrast with the slick cabinet lacquers, stainless steel, glass and heated porcelain floors throughout.

in Morningside when a friend asked them to preview a unit in the new Luxe building located at the corner of Piedmont Park and 12th Street. Out of curiosity, Ric asked

At the time, the south-facing unit only had stud

fireplace and reflecting pond.

the bathtub, glass railings on the balconies and an outdoor

smart home wiring, the addition of a glass enclosure for

16 new slab cores, relocating all the mechanical systems,

year long build-out required removing all the original walls,

more to the developer in order to secure a contract. The

spec binder with every appliance, faucet, light, tile and

delivered a complete set of construction drawings and a

than 2 weeks after they saw the unit for the first time, they

place was half the size of their Morningside home. In less

and storage was to the success of the space since this

Matthew and Ric knew how important detailing, planning

as owners of Design Galleria Kitchen and Bath Studio,

walls so there was lots of opportunity for changes. And

need for outdoor living and a garden.

luxury of 2,000 square feet of terraces which satisfied their

moving. Besides the view, the penthouse had the unusual

second that Matthew gasped at the view that he would be

the realtor to show them the penthouse and knew the

in the glass at night which influenced the subdued gray, taupe and blue color scheme. Color pops from pillows and

them on how light colors will create distracting reflections

in a gorgeous Mark Williams designed modern home

Moving into a condo was the last thing on Matthew

platform. Their friend and designer Bill Stewart schooled Quinn and Ric Parrish’s mind 5 years ago. They lived

Fredrik Brauer

for the guest bedroom and the large master shower and tub

Matthew Quinn and Ric Parrish

Photo Credit:

30309

Architect:

Matthew and Ric consider their best decisions as aligning all the 10’ tall doors to each room along the

den, choosing to build a walk-in pantry over a walk-in closet

222 12th Street, Unit 2202, Atlanta, GA

Year Completed: 2010

Quinn-Parrish Residence

Project Name: Location:

QuinnParrish esidence

Matthew Quinn

XMETRICAL

Jordache K. Avery of XMETRICAL, LLC 2013 Three stories: 3000 sq ft of conditioned space, 1200 sq ft of outdoor living space, 900 sq ft roof deck Fredrik Brauer

Year Completed: Square Footage:

Photo Credit:

Currently the Sanders Residence is three stories with

206

the existing site.

to preserve all surrounding trees and minimize the impact on

artificial lighting during the day. The home was also designed

the home with ample light, requiring the use of little to no

consumption. The many windows and doors also supply

and energy efficient fluorescent lighting reduce its power

the first and second floors. Open-cell spray foam insulation

wall assembly providing yet another skyline view from both

room, featuring 20 foot ceilings and a corner storefront

the kitchen, which opens to the dining room and the living

provide balconies to enjoy the view. The first floor houses

space. The owner’s suite and second-floor family room also

of glass doors leading from the third-floor design studio

foot rooftop deck. The rooftop deck is accessed via a wall

the downtown and midtown skyline seen from a 900 square

the home presents perhaps the most breathtaking views of

lifestyle space. Situated on a hill overlooking Glenwood Park,

surroundings and supply additional entertainment and

living space allows the home to open up to its natural

and 4 full baths. An additional 1,200 square feet of outdoor

3000 square feet of conditioned space featuring 4 bedrooms

foundation of the original home.

accommodate those elements, while demolishing all but the

curb appeal of the home. The new home was designed to

frosted rails and a screen wall were added to improve the

HGTV in 2010 and during that episode a new entry stair with

completed in March of 2013. The original home appeared on

a new construction built on an existing foundation that was

Located at 1016 Sanders Ave, the Sanders Residence is

1016 Sanders Ave SE, Atlanta, GA 30316

Architect:

Sanders Residence

Project Name: Location:

Sanders esidence

205

207 208

30324 Architects – TaC Studios. Cara Cummins, AIA & Jose Tavel, AIA Cablik Construction 2013 1 acre, 5000 sq ft Michael Tavel

Architect:

Contractor: Year Completed: Square Footage: Photo Credit:

The plan of the home is clearly defined by the daily

and spacious bath are illuminated by north-facing skylights.

creates a refuge for most deserving parents. The master closet

bath. The master suite, with a large view of the preserve,

highlighting a playful tiled wall illuminates a shared children’s

experience for visiting grandparents. A roof skylight

stair and light fixture. A fourth bedroom provides a suite

is connected to the spine of the house, by the dramatic

the corner from the main living areas. The sleeping level

extended family members. A playroom is tucked around

of scale. The large kitchen is designed for the gathering of

to the rear of the property – creates an even greater sense

ritual. Openness of the living level, with the expanded view

modern homes should have a screened porch.

screened porch with retractable screens—in the South, even

was most important. The covered terrace quickly can be a

With young children in mind, a connection to the back yard

with natural zinc panels, limestone, and true cement stucco.

have materials that would age gracefully, the exterior is clad

creation of the Morningside Nature Preserve. Wishing to

rear of the property, a view that is secured by the recent

young family. The clients desired to open the home to the

This recently completed residence is the home of a

1835 Wellbourne Drive, NE Atlanta, GA

Wellbourne Drive

Project Name: Address:

ellbourne Drive

TaC Studios

Dencity LLC

2357 Loraine Street NE, Atlanta, GA 30319 2013 Dencity LLC

Year Completed: Architect:

We walked the site and we both agreed the privacy

210

Adriaan really wanted a connection to this treescape, so

enjoy the outside spaces even in a rainstorm.

more importantly would allow shade and cover so he could

be easy to maintain in this heavily wooded environment, but

capped the house with a simple but large shed roof that would

him in constant contact with the surrounding environs. We

I created multiple exterior decks with plenty of glass to keep

wall that went through the entire house inside and out.

floor. We grounded this tree house design by creating a stone

cantilevering the second and third floors out over the ground

decided to create a tree house for him to live in, by

created by the canopy of trees was a true treasure. We

to be the canvas for all of his art collection in waiting.

his new home to be very natural and neutral. This home was

modern dwelling place to inhabit, just as he was. He wanted

over the years. These pieces were now waiting for a new

exquisite modern art, sculpture, and furniture he had collected

he showed me several pictures on his bright red iPad of

When Adriaan and I embarked on designing his home,

Fredrik Brauer

Photo Credit:

6,440 sq ft

Square Footage:

Landscape Architect: Core Landscape Group, Inc

General Contractor: Principal Builders Group, Inc

Structural Engineer: EC Structural Engineering, Inc

Weststrate Residence

Project Name: Location:

eststrate Residence

209

211 212

Staffan Svenson, Dencity LLC CORE Landscape Group, Inc 2013 4500 sq ft Galina Coada

Landscape: Year Completed: Square Footage: Photo Credit:

apart. The house is supposed to be fun.

people can feel like they are together even when they are

intermediate stair landings. The house is designed so that

by just a few steps. Others, such as the library, shoot off

spaces. The house has 6 different levels, some separated

is in the center of the house. It connects all of the social

that can be seen from most of the social spaces. The kitchen

writing studios. It becomes a sculptural element in the house

transverses the two-story living room space. It leads to the

cross. It bends and slopes in the air. It is not a solid mass and

of the house. This bridge is meant to be a little difficult to

resulted from the design challenges is a bridge in the middle

energy efficient as possible. The main conceptual idea that

site. An additional challenge was to make the house as

open up to one another and to the different views of the

room and extra bedroom, a kitchen, and social spaces that

additional fourth that functions as both an entertainment

the screen porch, a small library, three bedrooms with an

while still existing within the house, a modern version of

where one can get away from the main spaces of the house

were to provide for the following spaces: two writers’ studios

challenges laid out at the beginning of the design process

and is approximately 4500 square feet. The core design

have offices in the house. The house was completed in 2013

four with two cats. Both husband and wife are writers and

The Witter residence was designed for a family of

524 Oakview Road, Decatur, GA 30030 Architect:

Witter Residence

Project Name: Location:

Witter Residenc

Dencity LLC

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