Space 2011

SPACE

20 11

INTERNATIONAL DESIGN/GRAPHIC RESOURCE 10 ideas to make you crave REIMAGINING your home CLASSIC even more FURNITURE

HOW THE PIECES DESIGNED FROM DECADES AGO ARE FINDING THEIR WAY IN TODAY’S MODERN PROJECTS

PERSPECTIVE CHANGES

TRANSFORMATION OF HOW DESIGNERS ARE CREATING A WHOLE NEW LEVEL OF VISUALIZATION

An online publication by

Issue 1 March 2011

E’s NOTE

THEY ARE BACK JUST LIKE WE ARE IN BUSINESS

As we make our way into the year of the rabbit, so does alot of companies who have been anticipating this turn of the decade.

I believe we can be expecting alot of exciting changes this year, and of course I am talking about the design industry. As with the last few years, now many companies are putting a big cut into R&D because now everyone is realizing something, that changes in the past ten years have been more vivid and more impacting than anything in the last twenty or thirty. In a sense, adaptability has become the key to success, and organizations who failed to move with the world will lag behind and suffer the consequences.

In 2010, we launched our first design resource publication online in a form of a blog http://spaziot70.tumblr.com of which had received raving reviews from the community. Our daily update of the design world has been followed every where, and we’ve decided to take our publication to the next level - online magazine. But whats different about our magazine, and why should you add our information to the list of yours on top of everything else? Well, we do have something new to bring to the table, and lets say that it would be a great additional to everything else you already know.

In the first issue, we want to show you whats in store for the year 2011. As of every year, the turn of one creates an anticipation.

We believe 2011 will bring alot of surprises, and we can all expect a new level of visualization. Also, the big question this year really is about the integration of classic designs into the way of contemporary and modern designs. With the availability of newer construction materials (laminate flooring, monolithic glass structure, steel profiling, and etc) we are all in question whether today designers will leave the old way and look ahead to the future of possibilities. To respond to this issue, our first edition will feather a few articles that would give us a few insights: * Reimagining Classical Furniture will look into how pieces from decades ago are still finding its place today. * Perspective Changes will explore how visualization plays a big part in the design industry, and how they’ve been developing over the years and whats the level of these visualization now. * No Rest for the Dead is going to explore why the work of designers of whom have passed are continuously being resurrected.

Kawin Kaentrakool Editor in Chief

Issue 1 March 2011

11 SPACE20

07

TABLE OF CONTENTS

SPACE

20 11

INTERNATIONAL DESIGN/GRAPHIC RESOURCE

25

15

REIMAGINING CLASSIC FURNITURE

TREND SETTER

MOVE MENT 10

7 E’s NOTE

34

NEWSFLASH

12 FEATURED DESIGNER

13

17

NEW & BEAUTIFUL

Issue 1 March 2011

PERSPECTIVE CHANGES

PRODUCTS TO WATCH OUT FOR

7 12 13 14 15 17

10 IDEAS TO MAKE YOU CRAVE YOUR HOME EVEN MORE

47

E’S NOTE NEWSFLASH FEATURED DESIGNER IN THE SPOTLIGHT NEW&BEAUTIFUL TRENDSETTER PRODUCTS TO WATCH OUT FOR

25

REIMAGINING CLASSIC FURNITURE How the pieces designed from decades ago are finding their way in today’s modern projects

34

PERSPECTIVE CHANGES Transformation of how designers are creating a whole new level of visualization

41

MOVEMENT 10 Key projects of 2010, and where we are heading in 2011

47

10 IDEAS TO MAKE YOU CRAVE YOUR HOME EVEN MORE

52

6 CHAIRS TO MAKE YOU GO WILD

58

NO REST FOR THE DEAD

IN THE SPOTLIGHT

14

41

52

6 CHAIRS TO MAKE YOU GO WILD

58

11 SPACE20

10

NEWSFLASH N1 / MARCH

FEATURED DESIGNER

CALMA CHAMELEON

Eduardo Calma is one of the most prominent architect of the Philippines, and during his previous trip to Italy, he was able to visit the office of LIVING DIVANI designed by the world-famous architect Piero Lissoni. This picture, taken on the top floor of the office creates the illusion of Eduardo floating.

Issue 1 March 2011

11 SPACE20

12

NEWSFLASH N2 / MARCH

IN THE SPOTLIGHT

FAMILY CHAIR COLECTION BY JUNYA ISHIGAMI

Along with its new collection Living Divani have been experimenting with its new combination of shapes and patterns in hope of moving away from all traditional and conventional design. The result is the Hertz table designed by Arik Levy in 2008, which has received a great amount of attention due to its interesting shape and its visual representation of the actual Hertz.

FAMILY CHAIR COLECTION BY JUNYA ISHIGAMI

Gaining its popularity over the years, Living Divani has become a prominent player in the design field in the recent years. Their latest collection, launched in 2010 has create quite an uproar in the design field. The collaboration with Junya Ishigami (of which won the Golden Lion Design award this year) has brought to their collection many new design pieces such as the Family Chair collection.

Issue 1 March 2011

11 SPACE20

13

NEW & BEAUTIFUL

NEWSFLASH N3 / MARCH

SLAMP NEW PRISM COLLECTION PRISMA GEMMY

DROP PRISM

VELI PRISM Issue 1 March 2011

THE DIFFERENCE IS GAGGENAU

For over 30 years now, the Vario 400 series cooktops have provided the perfect combination of cutting-edge technology and superior design. They have ben fine-tuned and improved at every turn. Each of the 13 appliances - from the gas and induction cooktops to the electric gill, Teppan Yaki and steamer - are state of the art and yet incredibly simple to use. What’s more, they are all modular, so they can be mixed and matched as desired. It’s everything you could need to create something truly individual - before the cooking even starts.

Freestanding Side-by-Side RS 295

Ceiling Ventilation Model AC 402

Espresso Machine CM 250

Vario cooktops 200 series

Combi-microwave oven BM 270

Vario cooktops 400 series

THE 200 SERIES OVENS ANTHRACITE EDITION BY GAGGENAU

Whether you prefer an understatement or a design statement, the new Anthracite ovens are sure to speak volumes. They look both elegant and stylish when integrated into dark furniture, whilst a lighter surrounding will ensure they really stand out. With an oven, combination-steam oven and warming drawer, even the most ambitious dishes will be a success. Just how ambitious, that’s also your decision. The difference is Gaggenau.

11 SPACE20

14

TREND SETTER

NEWSFLASH N4 / MARCH

Istanbul, Turkey

BRIT INSURANCE DESIGN OF THE YEAR TO DROP TABLE BY JUNYA ISHIGAMI

Drop Table has been selected for the Furniture category of the Brit Insurance Designs of the Year 2011, which is held each year at the Design Museum, London. Awards go to the best designs of the previous 12 months. Drop Table will be on display on the top floor of the museum from 7 February to 7 August.

‘LESS IS DESIGN’ EVENT IN THE NEUE WERKSTAETTEN SHOWROOM MUNICH

Less is Design, a major exhibition of Living Divani collections, is launched on 24 February at 7pm in the presence of Piero Lissoni. The exhibition is held in the store of the brand’s long-established dealer in Munich. Open to the media, architects, design professionals and the public, Less is Design will last for a month.

Issue 1 March 2011

Auckland, New Zealand

Athens, Greece

London, United Kingdom

Mexico City, Mexico

BOHEMIAN IN 30 SHOWROOMS IN THE WORLD

Innovative design with a shabby and elegant taste, its deep and comfortable seat signed a new way how to do the “capitonne”. These elements are the success key of Bohemien in the world.

SHIRO KURAMATA REVISITED

To mark the twentieth anniversary of Shiro Kuramata’s death, the Mourmans gallery in Knokke, Belgium, is dedicating a major retrospective exhibition to the Japanese architect and designer.

The Living Divani pieces presented will be: 01 Table, Bridgestone armchair, Mon Petit Chou coffee table, Glass Table and Chair B.

11 SPACE20

15

PRODUCTS TO WATCH OUT FOR

Designed by Claesson Koivisto Rune in 2007, VORTEX is a colorful collection, which infused the elements of clean lines with the use of interesting materials ( structure in stiff polyurethane, top in glass). The shape and the availability of color will ensure you that your living room will never be boring ever again.

It’s hard to be boring when you are the designer for Dolce & Gabban, but the Arlequin Table by Ferruccio Laviani has taken the word design to a new level. Along with its interesting shape, the table employs a pattern, which is composable in different materials such as bright and matte lacquer, veneer and bright aluminum.

Issue 1 March 2011

11 SPACE20

17

REIMAGI NING CLAS SIC FURNI TURE

HOW THE PIECES DESIGNED FROM DECADES AGO ARE FINDING THEIR WAY IN TODAY’S MODERN PROJECTS

REIMAGI NING CLAS SIC FURNI TURE

Do you think it is possible to recycle ideas?

Nowadays the market is saturated, and companies try to differentiate by re- purposing or redesigning historical products. Although innovation is the constant challenge for all companies, still it remains the case that classical products are valued, accepted and continuously repurposed.

Have designers and architects run out of ideas?

Is it a lack of creativity? Drawing on the past is always part of inspiration: time and creativity are required to find old products and to bring them back to the market; architects need to know the design history to find and re-use products from the past; companies need a lot of experience to made them fit with prevailing market needs and tastes, and, overall, with the brand image.

And the most difficult part? Keeping and enhancing the historical value of these icons.

Some product have became timeless: they are considered masterpieces because over time they have become instantly recognizable; they are imitated, re-interpreted and re-purposed; they often are not showy, they are sober, but you can notice the designer’s influence under the shape.

For instance, there are some items of furniture created across the 60s/70s that never went out of production and still today feature across catalogues.

The best example of lasting products is for sure

Issue 1 March 2011

the “superleggera”chair designed by Giò Ponti in 1957. From the name – which in Italian means ‘superlight’ - you can easily understand the selling point of the chair: so light that it can be easily moved with a finger, but not fragile for that they say that it has been thrown from the fourth floor of a building without breaking! The genius of it is that “it is just a chair, a chair-chair” (cit. Giò Ponti), completely essential in its function: light, thin and comfortable.

It shows perfectly how an object can survive through time, far and safe from each trend, its simplicity making product.

There are more than 450 different combinations for the choice of fabrics and colors and new styles continue to be developed. It shows perfectly how an object can survive through time, far and safe from each trend, its simplicity making it a timeless product. There are more than 450 different combinations for the choice of fabrics and colors and new styles continue to be developed.

There are many other chairs that have become icons of the history of design.

We will continue to buy the Superleggera by Giò Ponti, the “Sedia universale” by Joe Colombo, the “Pila” by Piretti, “Mezzadro” by Achille e Pier Giacomo Castiglioni, the “Panton Chair”, the THONET’s chairs: all these are part of the history of modern furniture design.

20

SPACE11 26

REIMAGI NING CLAS SIC FURNI TURE

An example of a company, which still produces historical design products is Busnelli, leader in the international furniture market: with their original and young style, they still have in their catalogue some armchairs designed as far back as 1970 and still very modern: “Libro” and “Fiocco” are really cult products and are now on permanent exhibition at the MOMA in New York.

FIOCCO give a vividness to the atmosphere, as a ribbon around a gift. The metallic profile - along which there is an elastic fabric - creates sinuous lines: these constitute the shapes that have made the product unforgettable. As a matter of the fact, it was designed in 1970 by Gianni Pareschi and it is re-purposed again in 2007.

Why is Fiocco timeless? Whit its typical shape it can furnish a living room in a simple and informal way: without hiding other objects, but fulfilling the space with its lines, color, freshness. And the second design symbol is LIBRO, designed

by Gianni Pareschi and Umberto Orsini in 1970, with its revolutionary book shape soon became a timeless design object. The “page” of the book can be turned over in order to chose the favourite list.

Another company, which still has many products of the 70s is LIVING DIVANI. It is also an Italian brand, internationally famous. Among their products they have the Spring table and the 01 chair designed

by Shiro Kuramata and representing exactly the

Issue 1 March 2011

combination of his style with the essential shape of Living Divani. A knowing or twist of movements and curves defines the material, taking it to the outer bounds of its potential.

Recycling ideas, always a part of innovation, is taking on new meaning as companies have started to consciously look back to classical design pieces. Many designers’ creations still have very distinct forms, that have helped make them famous and immortal. Some we have come to consider as nothing short of domestic sculptures; works of art: they have gained their space in the story of the design, becoming vintage objects. The past is assuming a symbolic value, it’s not only about the object itself anymore, but it is about its history and what it has represented since the time of its creation. With technology’s progress, these products lost the functional scope that they had before, and they became decorations for élite apartments; status symbols. Some examples? the “Radiofonografo”, the “Radio Cubo” and the tv “Algol” Brionvega, which are now cult, and embody the “Made in Italy” and ethos of handmade production: a timeless legend, which remains in the heart and the eyes of the experts, a perfect expression of the Italian style of the ‘60s.

The iconic television is now exposed in many of the most important museum in the world, like the MOMA in New York, and it has become a collector’s item.

11 SPACE20

27

REIMAGI NING CLAS SIC FURNI TURE

Fiocco Chair

Libro Chair

Radiofonografo

Atollo lamp

Issue 1 March 2011

Superleggera Chair

01 Chair

Proust armchair

Radio Cubo

Piumotto

11 SPACE20

28

REIMAGI NING CLAS SIC FURNI TURE

The iconic television is now exposed in many of the most important museum in the world, like the MOMA in New York, and it has become a collector’s item.

At the same time, recently the firm decided to recycle some products itself: same exclusive shapes, but new technologies. The new “radiocubo” is the same design, but has new functions – including an alarm clock .

Another good example? The “Valentine” Olivetti, it is in the MOMA too and it is really a collection piece; born in 1968, it exactly represents the period in which it was created and the pop art then pervasive: lucid, light, easy to carry and red.

While in the past these product were thrown away as old stuff, now they are vintage objects and their economic value is increasing with their age and their increasing rarity.

Can someone say that it is lack of creativity?

No, it’s a way to innovate as well, to offer to the market a new trend - RECYCLING IDEAS: the shapes are the same, but the fabric and the colors change; the product is the same, but the way of using it changes. This is exactly what FIAT did with the “Fiat 500”: this is the story of a car that represented an Italy coming back tired from the war and “dreaming of America”. The first 500 was launched in the market before the boom of ‘60s and then in 2007 - after 50 year - Fiat launched the new 500, drawing its form from the previous

Issue 1 March 2011

one, but adapted to the demands of modern society. They marketed it like an historical product and a return to the old values of the family. They recycled an idea, they re-designed it based on new customer needs, and they repositioned the product from pure functional use to an icon which represented the Italian lifestyle.

Some objects really express a lifestyle, and some values. A good example is also the “VESPA”. It is not only a means of transportation, but also it represents an Italian way of living: for this reason a complete line of products has been developed using the brand Vespa. The product are not sold for what they are, as it was before, but for what they represent: the brand image is everything.

Even in the interior design market, lamps, chairs, armchairs and sofas with an iconic value are now re-produced and sold in new materials and with new technologies.

An iconic product, which is still very contemporary and expresses a lifestyle is the “Atollo”, designed

by Vico Magistretti in 1977, it is now also in the MOMA. The product is now made in various colors, like gold, lucid black or red. The lamp is the perfect combination of simple geometrical forms which find a balance together.

Also Busnelli Italia re-proposes some products designed in the past, in order to confirm their image of an Italian historical brand; in fact, the company 20 represents the history of the successSPACE11

29

REIMAGI NING CLAS SIC FURNI TURE of Italian design throughout its products. If you go on the website, you can find a part dedicated to all the historical products of the brand what does it mean? It means that they aim to keep alive the memory of past successful products, continuing to produce them still now.

A perfect example of how to reproduce and revise a product is “Delante”, characterized by a clear vintage style and sinuous shapes, to which is added a contemporary softness. It came out from the combination of Deimos and Alicante, historical products of the 70s’: Busnelli created a new modern product, which is grown up on past roots.

In 2008, they also brought back into the market “Piumotto” designed in the 1973 by Arrigo Arrigoni. Now it is offered with new colors and inserted in a modern location. Its success is due to its monolithic structure: it dominates the space, becoming like a monument inserted in the room.

The “armchair Proust” is one of their main design icons, designed by Alessandro Mendini in 1978. A cult feature of post- modern design, it has been repurposed by CAPPELLINI, in wood and in two multicolor fabrics. Mendini himself said of it: “I wanted to create a shape starting from literature, so I tried to realize a possible Proust’s armchair, referring to his descriptions and to the sense he gave to the past and to his present, Impressionism.

Issue 1 March 2011

I wanted to create an interesting object starting from a fake: this means redesign. I created a kitsch armchair fake-antique”. He already was speaking of redesign, bringing back the past and making it new.

And so, do you still think that is it lack of ideas? Is it possible that all the most renewed Italian brand are out of ideas?

No,it isn’t. Companies are introducing into their collections historic pieces: they innovate their product line by offering to the consumer the opportunity of bringing into their home a cult object, that otherwise wouldn’t be available on the market; the opportunity of going back through the time; the opportunity of having something special and unique that is also a part of history.

More than this it is a homage to Italian design; it attests to the uniqueness and immortality of Italian design.

Italian furniture companies are going back to the past to strengthen their image: when people buy a sofa, beyond quality, they look for the brand and for the inspirational dream that it embodies. The introduction of classical furniture helps firms to confirm their Italian image and to draw on the hallmarks of quality and style associated with historic design: ‘Made in Italy’ is timeless; ‘Made in Italy’ means quality and style.

11 SPACE20

30

Perspective Changes TRANSFORMATION OF HOW DESIGNERS ARE CREATING A WHOLE NEW LEVEL OF VISUALIZATION

itatneserp  lautriv  a  ylno On the other hand, it doesn’t  noimply  osla  ti  -­�  doog  dengised  a  fo that industrial production is making t  fo  noitazilausiv  a  snaem obsolete the old traditions;   ae  hwhile fo  noitatneserper  a  ,ecaps some companies like IKEA focus  .tcejorp  on serial production and aim for  convenience and low  price,  fomany  ynomitset  era  ew  ,tcaf  nI Italian manufacturing  companies  hcihw  noitulover  dnoces  a  and their try to keep their identity  fo  level  wen  a  ot  su  gnirb artisanal know- how.   a  oga  sraey  fi  :noitazilausiv  is already The ‘Made in Italy’ stamp  dezilaer  saw  tcejorp  a seal of quality; an added-value  evitthat cepsorp  eht  hguorht  allows one to differentiate  on ti  eethe s  nac  uoy  won  ,nward  market.   .1D3  Due to these two contrasting trends,   the new challenge for Italian furniture  fo  yrotsih  eht  ta  gnikool  tuB  is to be able to coordinate these  ht21  eht  litnu  ,erutcetihcra  contrasting necessities, efficiency on lur  on  erew  ereht  yrutnec the one hand and quality  on the  seother,  e r e ht  dna  gniward  tuoba  in order to make them converge: as   .D2  eht  neve  ton  saw  etisoppo  dna  wen  a

Perspective Changes

Once upon a time, there were some artists called designers: they represented their ideas on paper, using a pencil and some colors, using materials, looking for a concrete way to assemble different pieces, in order to display what they had in their mind.

Then something changed and new processes were introduced for elaborating the artists’ ideas. No more pencils, no more practical work, just a computer and some sophisticated software. That we call rendering: giving virtual form to ideas.

The evolution of technology and t h e introduction of the computer have been changing our lives for some  Â

              Â

 .dohtem Â

 noitatneserp  lautriv  a  ylno  osla  ti  -­�  doog  dengised  a  fo  eht  fo  noitazilausiv  a  snaem  a  fo  noitatneserper  a  ,ecaps  .tcejorp   fo  ynomitset  era  ew  ,tcaf  nI  hcihw  noitulover  dnoces  a  fo  level  wen  a  ot  su  gnirb  a  oga  sraey  fi  :noitazilausiv  dezilaer  saw  tcejorp  evitcepsorp  eht  hguorht  ti  ees  nac  uoy  won  ,nward

  .1D3 Â

                                                      Â

you  fcan see on the web  site of many  eseht  ni  ees  ylisae  nac   uoY  o  yrotsih  eht  ta  gnikool  tuB  to underline  ecnereffid  eguh  eht  erutcip Italian brands, they try  21  eht  litnu  ,erutcetihcra -­�ib  a  dna  tcepsorp  D3  a  neewteb  this  coming together selur  on  erew  ereht  yrutneof c the benefits of  .nward  lanoisnemid   ereht  dnproduction, a  gniward  tuobawith old quality industrial    .D2  eht  neve  ton  saw time: everything is faster, simplified manufacturing traditions. They are and more efficient. still maintaining the image of the Efficiency is the key word; hence this craftsman, but they also make use word has become a priority; the value of the most advanced technology; of handcraft and artisanal production keeping the origins and innovating at has been reduced. The companies the same time: this is the main goal. base their goods on the market’s So, visualizing a product before needs; the role of the designer putting it into production is a way seems to be reducing to a technical to be more efficient, but doesn’t level, one who has learnt and follows reduce the role of the designer; he a pre-determined process. still remains an artist, but he needs The computerization of processes is to improve his background and to required by progress, together with  acquire              new               technical                             competencies.   eseht  ni  ees  ylisae  nac   uoY  need for a program with which you  The designer is not longer an   ecnereffid  eguh  eht  erutcip -­� i b  a  d n a  t c e p s o r p  D 3  a  neewteb playing with can visualize a  product, before of its  experimental artisan, 20  .nward  lanoisnemid realization. matter and then proposing the SPACE11

Issue 1 March 2011

  Â

1

ht

1

35

Perspective Changes

all the algorithms which are the basis of prospective drawing were embodied in computer programs that allow us to make these simulations in a rapid and perfect way.

In the virtual dimension, created with these programs, the observer can look at all the different point of views, entering in a room and first passing revolution, and through it. He has a realprospective perception drawing then of the environment, havingbecame an ideathe of starting point the final effect. But it is not finished for each reality image you can introduce colors, representation. textures, fabrics, and surfaces; but

especially, you can play with the After that, and only lights, deciding where to put the light we have had the sources and also having recently, the effects of the day and night atmosphere.

You second revolution: all the

can simulate effects and function, product; now he virtually elaborates algorithms forwhich are the you can see thebasis openingof of prospective a representation a product and then he makes Then, it a instance doorreality and check furniture reality: a new and opposite method. closer the to the was if the drawing were embodied in will fit through it.

But rendering doesn’t mean only a to the painter by request So, if you need to furnish computer your house,programs that virtual presentation of a designed the church; so, the depth allow us and to make these you can ask for the prospects good - it also means a visualization was introduced in the simulations a faithfulin a rapid and of the space, a representation of a see exactly how itthwill look:

painting.

Only in the 13 perfect way. reproduction can be easily done project. century, Giotto started to In fact, we are testimony of a second without any effort in drawing and imprecision. In this real dimension, revolution which bring us to a introduce the new withoutprospective In way, the virtual are inserted in the virtual 3Dwith level of visualization: if years method ago products created these : but it was just an world, and assembling the product in a project was realized throughempirical the programs, the observer can trial. In fact, he many prospective drawn, now you can see different ways, you can create look at all the different was using it without any options. It allows the Interior design it 3D. point of views, entering in a scientific bases. After him, a new to reach border of But looking at the history of company room and passing through we have to wait until the visual communication.

This is of architecture, until the 12th century th it. He has a real perception importance, that the century when consider 15 great there were no rules about drawing design itself is based onof athe perfect environment, having and there was not even the 2D. Brunelleschi introduced balance between functionality andthe final effect.

Then, closer to the reality was request an idea of specific geometric rules and aesthetic.

These walk together and to the painter by the church; so,mathematics the But it is if not finished. sense is depth was introduced in the painting. one is missing the original implementing a virtual algorithms .

This was the Only in the 13th century, Giotto lost: on one hand it is important to started to introduce the prospective method: but it was just an empirical trial. In fact, he was using it without any scientific bases. After him, we have to wait until the 15th century when Brunelleschi introduced specific geometric rules and mathematics algorithms. This was the first revolution, and prospective drawing then became the starting point for each reality representation.

After that, and only recently, we have had the second revolution:

Issue 1 March 2011

Perspective Changes

purpose the products in the nicest way, to make them appealing; on the other hand, functionality fundamental to answer to customer necessity.

Proposing a virtual perspective enables the designer to satisfy both of these complimentary criteria.

While for industry goods you can always create a model before putting it into production, when you built a house you cannot do the same: once you built it, it is done. You don’t have a prototype to observe and try, in order to improve the product and to eliminate imperfections.

With these programs of threedimensional rendering, you almost create a material model: you have a real perception that you cannot have on two dimensions. You overcome traditional limits allowing for greater accuracy and planning.

So, it’s not only a more appealing way to show the project to the clients, but also a more functional

Issue 1 March 2011

way to check the functionality of the interior disposition. But learning how to use a rendering program can be difficult and so the challenge for the producers of these services is to make them as simple as possible, in order to increase the accessibility.

The most used programs are 3DMAX, SKETCHUP and RHINOMAN: they have different levels of sophistication, in terms of user complexity and of the outcome’s precision. There are different editions and applications, in order to add new dynamics to the basic version.

Increasing the complexity, the representation of the reality becomes more exact.

Architects and furniture companies have to take this challenge and become familiar with these programs in order to keep up with the times: nowadays, it is important to be present in the market with the most advanced technologies and to offer

11 SPACE20

37

Perspective Changes

high-scale service as possible; after that a company needs to find a differentiating value.

So, if everybody proposes h o u s e projections using 3D visualization, a company which is not able to offer this service will be automatically out from the market.

Moreover, the virtual representation assures the client they have exactly what they have asked for, and gives them the opportunity of knowing exactly what they should expect from a project; this means one thing: customer satisfaction, which should always be the focus. The second aspect is about differentiation: how can companies offer innovative services respect to the competition?

They should aim to make a differentiation based on the quality.

Focusing on recreating a space which a customer can recognize and can feel at home in: to do that it is necessary to put in objects that are familiar to them.

Filling a place with the furniture is not enough though: it is also important to add everyday objects, in order to create the right homely atmosphere.

From the MacBook to the i- pad, passing through Starbucks cups,

Issue 1 March 2011

iconic object are put into the prospects.

And the goal is not only to show a real life atmosphere, but also to choose products that are status symbol and that are correlate to the lifestyle being proposed by the company.

This new trend of virtual visualization is now spreading all around the world and, of course, it arrived also in Manila; in fact, furniture sellers are starting to use these visualization software, in order to show to the customer the final a preview of their apartment with the new furniture.

This is a good way to serve your client and to show projects in a more appropriate way. The innovative and young staff of Spazio T70 could not ignore this trend: to keep with the times, as they are used to do, they called expressly an architect specializing in virtual prospect. As a matter of the fact, the sample present in the prebious pages are made by him: Spazio is already using this method and these are some of the new project that they are carrying now. They are playing with light and shadows, they insert object to make homely the atmosphere and they are constantly improving their technique, in line with the new tendencies.

11 SPACE20

38

MOVE MENT 10 Key project of 2010, and where are we heading in 2011

In this article we will propose some architecture projects of 2010 and 2011. We will talk about a new tendency, the green architecture, one of the most interesting issues of these years.

used and re-converted materials experience. Although these are the new tendencies. approaches may seem disparate at But it is not just about choosing first sight, one thing they all share the right materials, it regards the is a vision of how architecture level of energy waste as well. can create more sustainable and Insulation and compact volumes socially responsible solutions for are becoming more and more living. Architecture is constantly important and constructors use challenging and re-defining insulating boards not only for the sustainable building through ceiling but also for walls. A lot smart and beautiful design. Nature of example, like houses made and design are more and more Nowadays the new goal of of clay, wood and stones, show integrated and they complete technology is eco-architecture. that this kind of building can be each other.

This means that buildings have to a pleasure for the sight. The huge Finally, there are many too be made of natural materials and aspects we need to use existing resources. It consider. First of all, it is definitely represents a way Is there anything better based on the use of local to take care of society’s than architecture to make materials, which permit good and respect the to avoid logistic costs nature. In fact, the objective us dream about different and pollution. Secondly, of this kind of architecture places? Travel around the this kind of architecture is to be eco-friendly and world, like in a flight of the communicates cultural sustainable. and social values, taking Many architects are imagination. Buildings and care about geography involved in this challenge. design permit us to know and the climate issue.

As they want to take care In fact, communication of the environment, they history and cultures. They is the main element of ask to apply this practice make us feel the life growing this kind of architecture. in their own house. So, It communicates with even if costs are 10-15% inside and get in contact with people using materials higher than the traditional the world around them. and shapes. In fact, houses, the way to design these elements create a and build houses is changing and variety of ecological materials and connection between structures eco-architecture is becoming the technological solutions permit to and people, things and places, new tendency. Moreover, it has architects to satisfy every kind of spaces and cultures. The new many advantages: less waste of need and taste. Nowadays those architecture is a combination resources, recyclable processes houses are becoming the standard of cultures and history, where and renewable energy. many languages and perceptions for future buildings.

People are more aware about So where are we heading in coexist. This definitely makes environment issues. For this 2011? The way to think about every building unique and special. reason companies are investing on space is changing too. Architects technology and doing researches, study the changes of time and So, are you ready to see but they are also going back to society, as the wide possibilities some of the most innovative more traditional methods, natural of technology offer an endless architecture projects? and eco-friendly; recycled, renumber of opportunities to 11 SPACE20

MOVE MENT 10 Issue 1 March 2011

42

THE SEED CATHEDRAL Created by British designer Thomas Heatherwick and his studio, it is an extraordinary structure of Shanghai Expo. It embody perfectly the theme Better City, Better Life and combine a complex structure with a simple and reverent message.

“I was inspired by the relationship between nature and cities” said the designer. So he decided to celebrate the beautiful green spaces of United Kingdom, by teaming up with the world famous Kew Gardens in London and the Millennium Seedbank project. The supporting structure of the UK Pavilion is made from wood and steel, which is pierced with 60,000 holes for each one of the aluminum sleeves that hold the fiber optic rods. This ‘low-tech’ solution actually had a very ‘high-tech’ method of execution. Moreover, 75% of the materials for the UK Pavilion have been sourced from within a radius of 300km around Shanghai.

MOVE MENT 10 THE SEED CATHEDRAL

KANAGAWA INSTITUTE OF TECHNOLOGY The new building, designed by Junya Ishigami, has been defined as a white forest in a grey field and it is located in the west of Tokyo. This building is designed to almost disappear. The forest comprises 305 slender steel columns, irregularly orientated and distributed throughout the space, while the field from which they rise is a distorted square bed of concrete. Inside it students collaborate with the local community to craft anything from furniture to robots. “I wanted to make a space with very ambiguous borderlines, which has a fluctuation between local spaces and the overall space, rather than a universal space like that of Mies,” says Ishigami. “This allows a new flexibility to emerge, revealing reality rather than shaping it.”

KANAGAWA INSTITUE OF TECHNOLOGY

Issue 1 March 2011

JD HOUSE

JD HOUSE Designed by BAK Arquitectos, it is located in Mar Azul, Buenos Aires. The landscape makes contrast to the stone-colored concrete. Inside, the home is spacious, airy and angular. JD House was constructed to preserve the nature around it. The architects played with the volumes to provide a dynamic space of a variety of functions, playing with transparency and opacity. The views through the house direct its users’ eyes onto the landscape beyond the house.

The architects were careful to leave as many trees on the site as possible, allowing them to pierce through several of the outdoor decks that are an extension of the house.

The three basic materials of the house are exposed concrete, glass and wood, as well as the natural decorative elements of the 20 surrounding forest.

11

SPACE

43

MOVE MENT 10 VODAFONE HEADQUARTERS VODAFONE HEADQUARTERS

Located in Porto, this building has been designed by Barbosa and Guimarães. This new construction definitely fits the concept “Vodafone Life, Life in Motion”, adopting a dynamic image. The formalization of this concept is based on the concrete, which through its plasticity, allows to create irregular and free-form shapes. Working both as a structural solution and exterior appearance, it creates a unique shape, bringing cohesion and unity to the set.

HIDDEN LAIR

HIDDEN LAIR TUCKED UNDER MOUNDS OF GREEN GRASS This unique group of houses is made of concrete and earth and surrounds a small pond. It uses natural and recycled materials, like the green roof; the structure was built with an insulating blanket that protects it from rain, low temperatures, wind and natural abrasion. Rooms which are used most during the day are situated towards the south in order to exploit the sunlight. While the basement and parking lot take advantages by the use of conventional methods, the entire ground floor was built using the typical earth home sprayed concrete technique. The building also makes use of recycled glass and is covered with a protective green roof which can be used to grow grass or other plants.

BAMBOO HOUSE

BAMBOO HOUSE The Bamboo House was designed by Kengo Kuma in Beijing. He was inspired by Japanese architecture and unusually it is used as a residence. Kuma and his colleagues wanted to distinguish them from contemporary architecture in China and to turn to tradition. Bamboo, aside being an ecological material, is also one of the most interesting for two reasons: it is easily available and it crosses pollution. Moreover the house is equipped with tea houses located outside the room, that offers an amazing view. Another characteristic is the way nature enters the building and merged with it. In this house tradition and innovation live together and spaces are minimal but stylish, thanks to the light effect that creates a relaxing and unique atmosphere.

Issue 1 March 2011

11 SPACE20

44

GREENLAND’S NEW NATIONAL GALLERY (2011) The team of BIG, TNT Nuuk, Ramboll Nuuk, Arkitekti have won the competition to design the new National Gallery of Greenland. Located on a steep slope overlooking the most beautiful fjord it will serve as a cultural and architectural icon for the people of Greenland. Tuusi Josef Motzfeldt said “The Board has a clear vision: to work for the establishment of an internationally oriented highly professional institution that communicates the continuous project of documenting and developing the Greenlandic national identity through art and culture” .

For this reason the building looks like a sculpture, combining a pure geometrical layout with a sensitive adaption to the landscape; the exhibition merges with culture and nature, inside and outside. It definitely is both physically and visually in harmony with the dramatic nature, like the life in this Country.

GREENLAND’S NEW NATIONAL GALLERY

2011 GREEN ROOFED LONDON HOTEL

GREEN ROOFED LONDON HOTEL (2011) Designed by ReardonSmith Architects, it was proposed to develop a new area at the Hersham Golf Club in Surrey, London. The entire scheme is covered with a green roof that takes its cue from the surrounding countryside. The proposal includes the addition of extensive on-site re-vegetation and re-organization of existing spaces, like parking.

Matthew Guy, the ReardonSmith’s project designer, said “Our concept integrates hotel, spa, and golf facilities into a single architecturally exciting and organic composition below and above ground. The design fulfills the requirements of the brief for a bespoke five star hotel while returning hard standing to the Green Belt and improving the physical layout and visual attraction of the entire site. It represents a commercially viable solution to developing in the Green Belt and is, we believe, a world-first.”

Issue 1 March 2011

11 SPACE20

45

10 ideas to make you crave your home even more Issue 1 March 2011

11 SPACE20

47

But your awakening experience is not finished here. When you wake up to look out of the window, the Magnetic Curtain (designed by Florian Kräutli) will create a visual experience and make you feel like you are in front of a work of art. But the most amazing thing is that you are the creator of your personal sculpture. The mechanism is very interesting: it has small magnets embedded all over the curtain, which allow you to give it a different shape every time.

The story of a common day in a special house starts when the daylight comes through the window. Shade will make your awakening a unique moment.

Proposed as a part of Hyperlinks exhibition, it has been designed by Simon Hejdens and commissioned by the Art Institute of Chicago. It consists of a new responsive film that filters the light into a moving projection of shadow. So when the angle of light and wind change, the indoor space evolves too, following an unplanned natural movement. This happens because each part of the grid changes its level of opacity, in connection with sensors that monitor the weather conditions outside.

Issue 1 March 2011

So it’s early morning and you are preparing for a busy day, thinking about all the things you have to do.

You look at the clock and think that it’s time for breakfast. It is always a pleasure to meet the family and sit down at the Coliseum Table. With this piece of Italy in your home, designed

by Samuele Mazza for Visionnaire, you will certainly enjoy the food and the Italian lifestyle. The dining room is gradually transforming into a stunning environment. So, along with your guests, you will feel to be in front of a theatre. Finally, the Coliseum chairs fit perfectly under the table creating a unique arrangement of geometric shapes, classic and modern at the same time.

11 SPACE20

48

Issue 1 March 2011

11 SPACE20

49

Issue 1 March 2011

11 SPACE20

50

6 CHAIRS TO MAKE

YOU GO WILD

Issue 1 March 2011

11 SPACE20

52

6 CHAIRS TO MAKE YOU GO WILD

FAMILY CHAIR BY JUNYA ISHIGAMI

Issue 1 March 2011

BAHIA CHAIR BY 20age

11 SPACE20

53

6 CHAIRS TO MAKE YOU GO WILD

FIOCCO CHAIR BY DESIGN G14

LOST IN SOFA BY DAISUKE MOTOGI

Issue 1 March 2011

11 SPACE20

54

6 CHAIRS TO MAKE YOU GO WILD

DISCO CHAIR BY KIWI&POM

LIBRO CHAIR BY BUSNELLI

Issue 1 March 2011

11 SPACE20

55

Catifa 60 Design by Lievore Altherr Molina

NO REST FOR THE DEAD

NNO

othing beats a classic, yes, as cliché as it may sound it is true, especially for brands like Vitra and Herman Miller, it has become a marketing strategy to go with the tried and tested, the je na sais qoui. And no one could blame them for it, or at least the masters themselves. The “dead ones” that is.

REST FOR THE DEAD Reedition is a term described to be a presumption of past manifestations of an artistic expression, as with the article Reimagining Classic Furniture. Other terms used are reintroduction, remake, renewed version etc. Basically, terms used by major brands of furniture companies to revive classics by deceased designers, which are no longer in production to what else but sell them. Surprisingly so, there are in fact companies that solely distribute re-editions of classic furniture. Masters like Joe Colombo, Verner Panton, Charles Eames, George Nelson and others are still being credited for their timeless design pieces however, they can’t possibly be summoned from their grave. The question is, is it really worth it? The argument lies on the fact that although these brands are giving these designers their due credit, at the end of the day, everyone knows who gets the profit. And they are actually proud of it. There’s probably no harm in reviving something that have stood the test of time, specifically furniture designs, even lights and believe it or not, even rugs. Definitely no one wants to lose something so loved to be gone forever. For these great designs to rest in peace along with their creators would be a total waste for the industry so guess what, furniture companies decided to give these designs a life of their own. Furniture aficionados must be rejoicing of course. Yet again, it’s a matter of opinion.

Issue 1 March 2011

11 SPACE20

59

NO REST FOR THE DEAD

‘Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination...And don’t bother concealing your thievery—celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from—it’s where you take them to.” - Jim Jarmusch The international furniture company Vitra, which started in 1950 and headquartered in Switzerland, is world renowned for collaborating with leading creative geniuses when it comes to developing their products. In the early 1980’s, the inception of the Vitra Design Museum under the direction of Alexander von Vegesack paved the way or its opening in November 3, 1989, which initial purpose was to collect furniture by designers who have influenced the development of the brand. Now having the largest collection of classic contemporary furniture designs around the world is just a start of the journey of the careers for these world-renowned designers – extending six feet under.

Works by Verner Panton, Charles Eames, George Nelson, Isamu Noguchi, Jean Prouvé, Bruno Taut, and others, which are no longer in production, was chosen by Vitra for producing high-quality reeditions.

And that doesn’t end there; they

Issue 1 March 2011

even manufactured miniatures not solely for display in the museum, but also unsurprisingly, for sale.

Justifying that it’s for the “museum’s financial budget” yet being coveted by design connoisseurs says a lot about the fast buck.

Another brand devoted to producing reeditions is Tecta, which for nearly 30 years now have been, as they say, living the dream of Bauhaus designers, to make these pieces be reasonably priced, so all of us can afford it; well, almost. One more company known as Bauhaus Reeditions, as straightforwardly implied with the not quite clever name, is also producing reeditions of furniture designs during the period and proudly proclaiming them “Made in Italy.”

Joe Colombo designs, as brilliant as he is, are classic, timeless, but dying at the prime of his life – on his 41st birthday - is not quite forgiving to the design industry.

Now brands like Oluce and B-Line

are rediscovering this master’s contemporary designs and they are coming back from the dead.

Herman Miller is also joining the pact of these companies by still producing works of Charles Eames and George Nelson, which are in demand since Vitra is also selling their pieces.

Life is tough but reaping the rewards makes it all worth it. On the contrary, if someone dies and somebody else is doing the task of reaping, that’s an issue. Nothing’s wrong with living the legacy and reviving something great that has been forgotten. Wondering why these companies cannot wait to get their claws into these great designers’ pieces is a no brainer.

The least they can do is to live up to expectations and continue to give the long gone designers their due credit. Probably going so far as carving “in memory of…” to their pricey furniture would be a good idea – or not. Go figure.

11 SPACE20

60