tl.mag#11 by eleonore wack

Colophon

Contributors

editorial

Spotted Craft selection seen on Collect London, PAd Paris and design Miami/Art Basel

content Special guests

oscar Niemeyer – Tropicalia

Brasil – Architecture’s changing

of the guard

india Mahdavi – heavenly alchemy

Konstantin grcic – The strong silent type

Trends 32

stefano Marzano – Philips design & index : Awards

Fab Prefab - Chile

Acclaim and exposure Brit insurance Awards

renzo rosso – diesel island

Philosophy : Michel Pastoureau stories of Colour

Creative skills 52

sèvres, Cité de la céramique ‘Mise en œuvre’ by sismo

Living with Ceramics

Český design

A shared view of design, fashion and architecture

Body ornament

Retail

Special report : 99 Design Duos

Icon revival Women of the World

decameron store – studio mk27 – marcio kogan + mariana simas

Masters

New twins

double icons

established partners

Poets tandems

Creative & business duos

101

The republic’s resurgent scene

118

Expertise Are green textiles too expensive ?

122

French kiss strategy by BeTC design

124

A Ceramic specialist’s view at The Ampersand house & gallery, Brussels

Iznik Revival – Keeping the ﬂame

Design Auctions

in the kiln alive,

duo’s work at Pierre Bergé & Associés

a special report from istanbul

Tamawa – Jeu de boules

104

City report

Fashion

Viaggio in italia – isola Comacina / italia Belgica, captured by

Permission by yves Lavallette & yoshiko Tange

auction house, Paris-Brussels

Books

the photographer Vincent Fournier

106

reviews by Miles standish and Lise Coirier 126

4 tl.mag #11 content

Tropicalism in fashion and design

tl.mag is a quarterly.

Subscribe online at www.tlmagazine.com Version française sur demande : info@tlmagazine.be ou abonnement online Belgium

1 year : € 35 / 2 years : € 60

Assistant to the Editorial Director / Administration & Finances / Blog

Jasmijn Verlinden, jasmijn@tlmagazine.be Fashion Art Director

Yves Lavallette, Paris-Hong Kong Fashion Editor

Yoshiko Tange Contributors

céramique, G.Jonca, Ampersand House and Gallery - 2011, Wouter Dam, Stephen Papandropoulos , Louise Hindsgavl, Elif Uras, Iznik Foundation , Defne Koz, Tamawa, Studio Shimera, Krehky, Kristina Hrabetova, Qubus, Ina Handlov, Wiley Jackson, Emmanuel Crooÿ, www.arno-image.com, Asif Khan, Fattorini & partners, laniﬁco f.lli cerruti, Takayuki Ogawa, B&B Italia, Iittala, Foundation Pierre Bergé - Yves Saint Laurent / G. Marineau, Masao Nishikawa, Frédéric Jean, Wolfs&Jung, Jakob Hohmann, Merel van Beukering, Mierswa-Kluska, Studio Juju, D&A Lab/Geert Vanden Wijngaert, DaphnaLaurens, Stephan Rapke and Andreas Acktun, Andreas Lechtape, Nichon Glerum, Joao Vieira Torres, Martin Slivka, Raw Edges, Nick Mora, Benjamin Le Du, Lydie Nesvadba, Marc Deurlo, Morgane Le Gall, Carpenters Workshop Gallery, EPFL | Alain Herzog, Issey Miyake, Serge Leblon, zoe@zoeouvrier.com, Vitra, Simona Caleo, Fabrice Gousset Courtesy Galerie Kreo, Eric Laignel, Ugo Richard, Studio Hoet, Oliver Spies, www.barberosgerby.com, Alchimie Studio, PearsonLloyd, Ed Reeve, Michel Denancé, Anthony Weller, Patrick Swirc, Doshi Levien, Kate and Camilla, Nipa, Andrea Martiradonna, Alexandre Tabaste, Cassina, Astori De Ponti, radiator Milano, Freudenthal/Verhagen, Gareth Winters, Isabel Trüniger, V&A Images, Studio Piet Stockmans, Studio DRIFT, Soﬁe Lachaert/Luc d’Hanis, Colette, Andrea Guermani, Grégoire Alexandre Di Marco, Gallery R’Pure, Silvera, Missoni, Kartell, Pierre Bergé & Associés, Jane Evans, Jane Bowler, BETC, Serge Anton.

colophon Europe

1 year : € 50 / 2 years : € 90 Rest of the world

1 year : € 60 / 2 years : € 110

Subscription in Europe / US

Rouge Design bvba FINTRO 143-0734926-58 IBAN BE95143073492658 SWIFT GEBABEBB

Hughes Belin, Lise Coirier, Florence CoirierGiraudon, Catherine Dauriac, Guy Dittrich, Giovanna Dunmall, François Épin, Marie Farman, Vincent Fournier, Fériel Karoui, Marie Le Fort, Yves Lavallette, Cédric Morisset, Arnaldo Smet, Kathryn Smith, Miles Standish, Yoshiko Tange, Jasmijn Verlinden Translation and Copyediting

Subscription in Asia

Aurélie Bunneghem, Miles Standish

BrandEquity Ltd HSBC 112-187158-838 - Code : 004 SWIFT HSBCHKHHHKH

Photographers

Sébastien Wintenberger, sebastien@tlmagazine.be Christophe Pradère, christophe@tlmagazine.be

Andreas Acktun, Pierre Antoine, Arno-image, Jonathan Boyd, Donna Brennan, Simona Caleo, Kiefer Chen, Emmanuel Crooÿ, Michel Denancé, Thierry Depagne, Marc Deurlo, Grégoire Alexandre Di Marco, Stephanie Fleck, Vincent Fournier, Freudenthal/Verhagen, Nichon Glerum, Fabrice Gousset, Andrea Guermani, Fernando Guerra, Estelle Hanania, Alain Herzog, Erik and Petra Hesmerg, Jakob Hohmann, Kristina Hrabetova, Derek Hudson, Hiroshi Iwasaki, Frédéric Jean, G. Jonca, Kate and Camilla, Eric Laignel, Julien Lanoo, Yves Lavallette, Benjamin Le Du, Morgane Le Gall, Serge Leblon, Andreas Lechtape, G. Marineau, Andrea Martiradonna, Nick Mora, Lydie Nesvadba, Masao Nishikawa, Takayuki Ogawa, Stephen Papandropoulos, Stephan Rapke, Ed Reeve, Felipe Ribon, Ugo Richard, Mike Roelofs, Secondome, Shimera Studio, Martin Slivka, Oliver Spies, Patrick Swirc, Alexandre Tabaste, Frank Tielemans, V&A Images, Joao Torres Vieira, Isabel Trüniger, Merel van Beukering, Geert VandenWijngaert, Paul Warchol, Bart Waumans, Anthony Weller, Katherine Wheeler, Gareth Winters

Editor in Chief

Photography credits

Lise Coirier, lise@tlmagazine.be

C. Lavatori, Secondome, Frank Tielemans, Felipe Ribon, Gareth Neal ltd, Norsu Gallery, FI, ECAL-Julien Chavaillaz, Bart Waumans, Pierre Antoine, Centro Niemeyer, DR, Fernando Guerra, India Mahdavi, Derek Hudson, Fabrice Gousset, Galerie Kreo, Konstantin Grcic Industrial Design, Magic Monkey, Philips Design, Sebastian Irarrázaval Architects, Studio Dror, Lin Tianmiao courtesy JGM Galerie, Estelle Hanania, Ph. Ladet et Cl. Pignol / Galliera / Roger-Viollet, Charlie Le Mindu, Vernie Yeung, Maimouna Guerresi, Arik Nepo / FNAC / Centre national des arts plastiques /ministère de la Culture et de la Communication - Paris, Lamya Gargash courtesy The Third, Line Gallery / Dubai / UAE, Katherine Wheeler, Galerie Soﬁe Lachaert, Lesley Craze Gallery, Galleri Format, Galerie Marzee, Stephanie Fleck, Gallery Rob Koudijs, Jonathan Boyd, Donna Brennan, Galerie BSL, Ulysse Frechelin, Sèvres Cité de la

TL MAgAZiNe is PUBLish ed By roUge desigN sPrL Head oﬃce

Elisabethlaan 4, B-3080 Tervuren Operational headquarters

rue Notre-Dame-du-Sommeil 2 B-1000 Brussels T. F. + 32 2 768 25 10 info@tlmagazine.be, www.tlmagazine.com Distribution France

Media Diffusion Workshop 78, boulevard Carnot F-78110 Le Vésinet Publisher

Lise Coirier, lise@tlmagazine.be Associate Editors

Editorial Coordinator

Aurélie Bunneghem, aurelie@tlmagazine.be Iconography

Suzy Castermans, suzy@tlmagazine.be Editorial Associate Asia

Florence Coirier-Giraudon, ﬂorence@tlmagazine.be

Art A rt Direction / Graphic Design

© RougeDesign sprl 2011 Tervuren (Brussels), Belgium ISSN 2031-8308 M EN codif 6895 No part of this publication may be reproduced, or transmitted in any form or by any means, including photocopy, recording, or any information and storage and retrieval system, without prior written permission from the editor. All rights reserved. CoVer

Sismo Designers FAshioN CrediTs & Address BooK

RRaf af Thienpont, Éléonore Wack Website W ebsite www.tlmagazine.com

Guillaume Bokiau Interns

Hélène Hardy, Bernardo Agramón, Ellen Bilterest AdVerTisiNg / PArTNershiPs & iNTerNATioNAL rePreseNTATioN Sales and Marketing Director

Sébastien Wintenberger, T. + 32 475 20 20 68, sebastien@tlmagazine.be Media Agent, Objectif Média/ TL (Benelux – France),

Alexandra Rançon, T. + 32 484 68 51 15, alexandra@tlmagazine.be

“Permission”

Blumarine www.blumarine.com Bottega Veneta www.bottegaveneta.com Burberry fr.burberry.com Carven www.carven.fr Doursoux www.doursoux.com Ehut +33 1 49 23 79 79 Falke www.falke.com Gaspard Yurkievich www.gaspardyurkievich.com Hermès www.hermes.com Herzo www.herzo.fr John Lobb www.johnlobb.com Junko Shimada www.junkoshimada.com Lacoste www.lacoste.com Maison Fabre www.maisonfabre.com March Lab www.march-lab.com Marchand Drapier www.marchand-drapier.com Paule Ka www.pauleka.com Pal Zileri www.palzileri.com Roger Vivier www.rogervivier.com Tara Jarmon www.tarajarmon.com

Agent for Hong Kong – Asia

Florence Coirier-Giraudon, T. +852 92699864, ﬂorence@tlmagazine.be Agent for United Kingdom – London

Arnaldo Smet, arnaldo@tlmagazine.be PriNTer

Dereume, Drogenbos, BE disTriBUTioN/Pro MoTioN

A list of distributors and sales outlets in bookstores in Belgium, France and in the rest of Europe, as well as in Asia, is available on demand, info@tlmagazine.be France : Presstalis / Belgium : AMP / The Netherlands : Betapress / Italy : Intercontinental / Hong Kong – Singapore – Asia : Pansing HK membre de l’union de la presse périodique

“Viaggio in Italia”

Sandrina Fasoli : www.sandrinafasoli.com Samsonite : www.samsonite.be Jean-Paul Knott : www.jeanpaulknott.com Rue blanche : www.rueblanche.co Le Fabuleux Marcel de Bruxelles www.fabuleuxmarcel.be Cerruti : www.cerruti.com Jean Paul Lespagnard www.jeanpaullespagnard.com Maison Martin Margiela www.maisonmartinmargiela.com Bellerose : www.bellerose.be Hackett : www.hackett.com Cos : www.cosstores.com Olivia Hainaut : www.oliviahainaut.com Hampton Bays : www.hamptonbays.be Degand : www.degand.be Christophe Coppens : www.christophecoppens.com Thot Memphis : www.thotmemphis.com H&M : www.hm.com VVBrown : www.cameleon.be Tim Van Steenbergen : www.timvansteenbergen.com Dries Van Noten : www.driesvannoten.be

6 tl.mag #11 colopHon

sUBsCriPTioN

Christophe Pradère [Fr]

Cédric Morisset

Christophe joined BETC Euro RSCG at the end of 2000 integrating design expertise into the heart of the group’s businesses. Three years later, he founded BETC Design. Specialising in a global approach to design and design management for innovative and creative industries, he opts for a holistic approach to brands ; a cross between social sciences, marketing and a global creative strategy. Since April 2011, Christophe has also joined the editorial team of tl.mag as associate editor.

Art history and cultural management graduate Cédric Morisset drifted towards design after dabbling in the world of contemporary art. He has been curating exhibitions since 2003. Parallel to this, he writes numerous articles on design for publications like A.D. and the French daily newspaper Le Figaro. He has also written several books on design-related subjects.

[Fr]

Kathryn Smith [UK/AU]

Arnaldo Smet [Be]

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

London-based journalist Arnaldo Smet holds a Master in literature and communication. With his finger on the pulse of this vibrant city he keeps up with new talent and leading figures in the fields of architecture, design, fashion and retail. He is also a photographer for VICE, capturing the underground music scene in its rawest form, and a fashion week correspondent for ELLE.

journalists

www.ampersandhouse.com

8 tl.mag #11 Journalists

www.betcdesign.fr

Vincent Fournier [Fr]

Moniek E. Bucquoye [Be]

Jasmijn Verlinden [Be]

Marie Le Fort [Fr]

Born in Ouagadougou, he grew up in Brittany and studied visual arts, sociology (Montpellier) and photography (Arles). Based in Brussels, Vincent is a professional photographer whose images of lunar landscapes and cosmonauts have met with international success (Space Project). Recipient of a bronze award at the Cannes Festival and a Gold Clio Award, he embodies a distinctive style combining fantasy and reality, and leads the viewer through a colourful journey into the unknown.

Moniek is widely recognised as Belgium’s design specialist. A former director of the International Design Biennial “Interieur.be”, Moniek is now active as a consultant for the Design Museum Gent (BE), is a founder of the ‘Designer of the year’ selection, has written over twenty books about architecture and design, enjoys design criticism and believes that “essential things” continually change the world.

Jasmijn enthusiastically immersed herself in the world of contemporary jewellery for this special crafts issue despite admitting that she only wears a green frog-shaped ring herself. She recently had the pleasure of meeting Mr Diesel himself, Renzo Rosso, and is now considering moving to Diesel Island. Jasmijn holds a Master in art history and general management, combining them to great effect in her various roles at Pro Materia and tl.mag.

Soon after graduating from the prestigious ESCP, Marie Le Fort slipped into the role of an international journalist. Searching for new forms of creativity in artistic spheres and the luxury industry, Marie’s instinct for unearthing new trends and talent on her travels around the world has led to regular collaborations with magazines like Numéro, Wallpaper*, IDEAT, SOON and Air France Madame for whom she delivers a vision of a world in movement.

www.vincentfournier.co.uk

Never before have we seen such teamwork and resources being deployed at tl.mag, in our search for the truth behind the duos and couples featured within these pages. This research was coupled with a new art direction to enrich tl.mag, after three year of existence. In choosing to evolve the graphical identity and ‘look and feel’ of the cover and contents of the magazine, I hope to steer the magazine towards many more new exciting adventures. More readability, a greater connection between men and the disciplines. This report on 99 design duos is a reflection of our vision of the future. In search of a culture that values quality of life and sharing, we’re entering into the era of ‘couplicité’ as stressed by Vincent Grégoire with his exhibition at M&O. The fruits of our findings : 99 duos active in the creative fields of fashion, design and architecture. Including collaborations that often go beyond the simple act of working together. Moreover, there has always been this phenomenon of ‘fusion’ between two people who feel the same aspirations and emotions for the future and who try to share them with as many people as possible. Enlightened visionaries, generous spirits, innovative uses and practises, all are results of this permanent dialogue.

Inspiring stories of couples, doubly endearing ! Sometimes the woman becomes the muse or is the backbone of the couple, working in the shadows while the man is the public face of the company, always in the media, or vice-versa. It can also be a family affair, from father to son or from mother to daughter, between brothers and sisters… If there is alchemy, it’s sometimes down to pure luck or a chance encounter during their studies or whilst on a professional exchange. In numerous cases, love also has its part to play and manifests itself spontaneously in the work. Legendary masters and icons inspire us : Ray & Charles Eames-Kaiser, Charles & Pier Giacomo Castiglioni, Robin & Lucienne Day, Man Ray & Lee Miller, Rena & JeanLouis Dumas, Pierre Bergé & Yves Saint Laurent, Aino & Alvar Aalto… The list is endless, and far from exhaustive either…Our fashion story features a couple lost in the forest in Fontainebleau and on the ‘isola Comacina’ of lake Como. So many adventures that promise rain or nice weather, contrasts, confrontations, combinations, marriages and divorces. There is no miracle or way to escape. Man doesn’t care for solitude, he enjoys listening to stories, preferring encounters that further his cause. It’s also a time for change at tl.mag, our new identity, ‘Trendsliving’, invites you to journey all through the Summer months to our ‘treasure island’ dotted with discoveries that range from applied arts, to prefabricated architecture and extreme stylised design from Lise Coirier Latin America. The tropics, tropicalism, tropicalia… Let’s escape together !

10 tl.mag #11 eDito

edito

craft

A seLeCTioN By Lise Coirier

The strength of craft design is that it dates back to ancient times. Without experimental processes, industrial design would never have existed. Thinking, making, creating and passing on knowledge remain human values that are firmly anchored in our society, values that weâ&#x20AC;&#x2122;re only too happy to share.

Optical games by Emmanuel Babled

Pearl vases, a selection of Zulu stories

The story Vases recount the personal stories of five South African women. Members of the siyazama project, each one of them specialises in the art of beadwork, working with glass beads imported from Murano. Front, the swedish design collective, collected their stories and transcribed them with pearls on vases blown by the swedish master glassmaker reino Björk.

Aside from his Murano glass and Carrara marble creations, Babled also creates astonishing objects, which include a low table ‘Quark’ made from Plexiglas. his new collection ‘rien de 9’ (nothing new), presented in Milan, brings together materials whose beauty has been accentuated by light. The following galleries represent him : The Apartment in London, Nilufar in Milan and Kessler in Zurich.

www.editionsincraft.com www.frontdesign.se

www.metea.it

12-13 tl.mag #11 spotteD

Brassware by Mario Botta

From 23 september until 8 october, The gallery (Brussels, Be) exhibits the collection ‘Tredicivasi’, thirteen vases designed around the metaphor of the tree by the architect Mario Botta. Produced in limited editions by Numa, a brand belonging to Serafino Zani, the pewter plates are melted, shaped and welded by hand before being brushed and polished. Five of the vases are produced in a limited edition of 33 pieces.

www.numadesign.it

The precision of silversmith Nilton Cunha

Nilton presented his latest unique, silver patina pieces at Collect near the galerie du WCC-BF. his Brazilian roots and his savoir-faire, that he continues to cultivate with passion, give him the force to see through the orders and be present in private and public collections like Zilvermuseum sterckshof in Antwerp.

www.niltoncunha.com

Pirwi, Made in Mexico

This new Mexican design brand will exhibit their wares at Bensimon gallery in the Autumn. Their work is distinguished by the excellent quality of craftsmanship and a respect for the environment. Knit Chair, which featured in the tl.mag Latin American issue last summer, will be complemented with the sahuaro Coat stand and other pieces of furniture.

www.pirwi.com, www.gallerybensimon.com

Colourware, when colour becomes tactile

The fruits of a collaboration between sebastian Bergne and sophie smallhorn, this innovative installation shown at Collect elevates the art of tableware. Colour is used like a material as a starting point for treating surfaces of finished products. The objects are both simple and sophisticated. The inherent colour surprises with its strength and tactility.

www.sebastianbergne.com www.sophiesmallhorn.co.uk

Living Walls by Rosa Nguyen

rosa Nguyen, a Vietnamese designer settled in england, creates displays of fragile ceramic pieces, incorporating blown glass vessels and the discreet Japanese art of ikebana. Arranged on mural surfaces, these ‘Wall Tableaux’ bring to life sensitive forms in the living space. The elements are put together to come into contact with nature.

www.nguyen-ceramics.co.uk

Majolica reinterpreted by La Fabrica

La Fabrica (under the direction of sam Baron) usually operate from their workshops on the site of the Benetton Foundation in Treviso (arch. Tadao Ando). For this workshop, the residents made the journey to the workshops of the ceramic artists of grottaglie (Puglia). The ceramic tradition of Majolica is reinterpreted in a contemporary fashion, resulting in, among others, Jade Folawiyo’s Family arms vases.

www.secondome.eu, www.fabrica.it

Maarten Baas for more humanity

The empty Chair (h 5m) was created for the 50th anniversary of Amnesty international as a symbol to honour the 2010 Nobel Peace Prize Laureate Liu xiabo, a human rights defender in his native China. This emblematic piece illustrates Amnesty’s campaign against censorship and the imprisonment of writers, journalists, artists and activists.

www.maartenbaas.com

Enzo Mari by Hermès Maison

This chair designed by maestro enzo Mari for hermès Maison, was presented in Milan in the heart of the pavilion created by shigura Ban. one in a series of objects, the chair, made of Canaletto walnut covered in leather, was the perfect expression of contemporary, understated elegance alongside creations by Antonio Citterio and denis Montel (rdAi agency).

www.hermes.com

Power of Making V&A London

showing from 6 september 2011 to 2 January 2012, this exhibition, which examines the role of craftsmanship on our daily lives, presents a large variety of objects curated by the V&A, in collaboration with the Crafts Council. The eclectic selection of around 100 crafted objects chosen by daniel Charny covers a myriad of timehonoured ways of making, as well as new technologies such as 3d printing. Presented as a cabinet of curiosities, it certainly won’t leave you unaffected. Soak up the ‘behind the scenes’ atmosphere of the master craftsmen.

Mathieu Lehanneur awakens the choir of St-Hilaire

The French department of deux sèvres is home to the st-hilaire romanesque church in Melle. For Mathieu Lehanneur’s ultramineral conversion of the choir marble echoes the telluric energy of the stone, adapting to this place of worship, whilst respecting its liturgical codes. The altar, built at the intersection of the transept and the eight-sided baptistery, is a call for spirituality.

www.mathieulehanneur.fr

Glass menagerie by Markku Salo

represented by the Finnish gallery Norsu during Collect in London, master glassmaker Markku salo lets the glass express itself in all its splendour. somewhere between function and decoration (bottles, boxes…), the objects take form with precision and sensibility.

www.norsu.info, www.markkusalo.com

14-15 tl.mag #11 spotteD

www.vam.ac.uk

Caroline Slotte at the Flow Gallery London

This Finnish ceramicist collects old second hand plates to give them new meanings. she intervenes physically by cutting directly into the existing material, sculpting and sanding to highlight the patterns, and combining different elements from different objects… her narrative content enables her to create a tension between tradition and an enigma.

www.ﬂowgallery.co.uk www.carolineslotte.com

Innovo Design under a paper parasol

designer trio Christoph John, Jovana Bogdanovic and Zhang Lei collaborated on the project Future Tradition in Milan and in China. New niches for a savoir-faire on the decline have resulted from their collaboration with four craftsmen specialising in creating paper parasols in the region of yuhang (hangzou, China).

www.innovo-design.com

ECAL reinterpret the fashionable Harcourt glassware

After Christoﬂe, Augustin de Martinville scott sent his protégés, studying for a Master in design and Luxury at eCAL, on an adventure into the world of harcourt glassware. Baccarat’s Chantal granier gave them ‘carte blanche’ to reinterpret this iconic glassware. one of the projects that resulted from this collaboration was ‘Chess’ by Julien Chavaillaz which explores the possibilities of form using black crystal.

www.ecal.ch, www.baccarat.com

– rob & Nick Carter regulate the intensity of our memories of travelling ever since i met these two designers at 100 % design London surrounded by a map of the London ‘tube’ redesigned with Pantone where the colour became an important emotional element of the urban mapping, i’ve been following their work more closely. For their latest project, they create works of art customising postcards from the 60s and 70s with neon signs found in casinos, motels or at a friends’ house. ‘it’s a way for me and Nick to tinge our travel souvenirs with references to offbeat Las Vegas-style Pop signs… The neons were reduced to the scale of a postcard bringing together two different worlds : art and advertising’. it’s a complex process : the postcard is scanned and then printed by hand on aluminium backed Cibachrome paper. The ‘vintage’ neon is then fixed and the intensity of the colours can be regulated. here’s the Bund area in shanghai that is currently going through a cultural and economic revolution.

www.robandnick.com

17 Precious Door Handles

‘hold/Loose’ door handles are the result of an exploration initiated by the galerie Caroline Van hoek (Be). in this ‘Conversation Piece’ Beatrice Brovia and Nicolas Cheng experiment with natural materials like copper and leather… The sublime materials imbue this domestic accessory with a ‘precious’ quality rendering it almost into a piece of jewellery.

www.carolinevanhoek.be

Zilvermuseum sterckshof has been supporter of contemporary silversmithing in Belgium since 1996. This year, Mieke Vranken explores the potential of this know-how with her piece ‘impressions’, which oscillates between fine art and applied art. Forming a duo with the photographer Bart Waumans, she also explores the different facets of our culture, e.g. ecology and recycling.

The Japanese designer oki sato has designed a new concept, ‘Kotoli,’ for ruinart, the oldest champagne house in France. The ceremony, around a reinterpretation of the bento box with two glasses for tasting the ‘Blanc de Blanc’ allows the creator to open the dialogue between the orient and the West. The launch took place in a former palace belonging to Kenzo in Paris.

www.ruinart.com, www.nendo.jp

www.waumans-vranken.com www.zilvermuseum.com

Shock of the Planets by David Huycke

re-Thinking granulations was the subject of his thesis but also the name of his limited edition series. Between ‘order & Chaos’ (silver patina and stainless steel), there are also moments suspended in time, ‘Kissing sphere #2’ (silver patina 925/1 000). his work has been noticed at fairs like Collect, galleries like Marzee and Sofie Lachaert, and even the Musée des Arts décoratifs in Paris.

www.davidhuycke.com

– Pierre Charpin, the designer of normality ‘My eyes are drawn to ordinary objects… i take the time to create and draw leaving room for an emotional encounter,’ says Pierre Charpin, talking about his new exhibition showing at grand-hornu images to celebrate 20 years of his work. Françoise Foulon, the curator and director of the exhibition, selected a series of objects and installations in consultation with Charpin, that reﬂect his career both as an artist and designer. As soon as you enter, ‘the living room pays homage to Castiglioni,’ states Charpin. so it’s not a model apartment, but a living space where tactile, frontal and colourful features are omnipresent and cry out to be used. researching experiences on materials such as ceramics at CrAFT and at Vallauris or glass at CirVA and soon at the ‘Cristalleries saint-Louis,’ Charpin only exhibits his project when it is ready. This is the philosophy of research and design that he lives by rather than the objective of responding to an order ; which is why his collaboration with the galerie Kreo suits him so perfectly. www.grand-hornu.be, www.pierrecharpin.com

16-17 tl.mag #11 spotteD

Mieke Vranken cultivates cross-disciplines

Kotoli by nendo

Under the spotlight, the master of Brazilian architecture recently finished work on his first project in Spain, in AvilĂŠs, in the Principality of Asturias. Faithful in form and spirit to the work of the architect, the Centro Niemeyer is without doubt one of the last contemporary symbols of the Modern Movement.

tropicalia

1.2. Centro Niemeyer, 2011

TexT By CédriC MorisseT

A tutelary figure of Brazilian architecture the world over, Oscar Niemeyer is also the living symbol of a Brazilian pride restored after the dark years of dictatorship, and of the creative and economic renaissance of a country that spreads its culture throughout the world. Yet he had to wait until he was 103 years of age before completing his first building in Spain. In the small medieval town of Avilés, situated in the north of Spain in the principality of Asturias, the Centro Niemeyer (a new cultural centre inaugurated in April) remains faithful to the talent of the master. With its futuristic and labyrinthine forms, its curves, immaculate whiteness and observation tower that seems to look towards the future, Niemeyer plays, as he does so often, a harmonious melody between surprise and poetry. Comprising several buildings that include an auditorium, a cinema, a museum and a restaurant, the Centro Niemeyer is an assembly of visual elements that respond to each other through contrast and analogy. Together, they create a landscape half-way between ‘2001 : A Space Odyssey’ and the forms already developed by the last giant

of modernism – according to Michael Kimmelman, architecture critic for the New York Times – in Pampulha, Brasilia and Niteroi. The project dates back to 2006. Invited to the 25th anniversary of the Prince of Asturias Awards for the Arts, an award that had been bestowed upon him in 1989, Oscar Niemeyer decided to offer a grand project to the Principality, and he laid the first stone two years later. With this extraordinary building, the municipality of Avilés intends to repeat the ‘Guggenheim effect’ of Bilbao, which contributed to the economic revival of the great port. With its board made up of Paulo Coelho, Woody Allen, Stephen Hawking and Kevin Spacey, among others, the Centro would like its programming debut to be an international success ; a signal of their intentions for the future. Given the international interest in the site and its programming, there are already more than one million visitors expected in 2011. A real hope of renaissance for this industrial region in crisis. www.niemeyercenter.org

18-19 tl.mag #11 special guests

Niemeyer

Arthur Casas

TexT By CĂŠdriC MorisseT

ArChiTeCTUre’s ChANgiNg oF The gUArd

having gone through an unrivalled period of effervescence over the last thirty years thanks to a brighter economy, Brazilian architecture proves that it has lost none of its lustre and is ready to change the 70 years of unchallenged domination by oscar Niemeyer. The new guard reinvent modernity. Overwhelmed by the tutelary figure of Oscar Niemeyer and by the disciples of the Brazilian modern movement (Lucio Costa, Lina Bo Bardi, Roberto Burle Marx…), Brazilian architecture, which went down to posterity with the International Exhibition in New York in 1939, seemed condemned to never rise from the ashes again. Difficult indeed to exist in the shadow of the master when a whole nation shows a cult-like devotion to the last giant of the modern movement and entrusts him with the construction of most of its major public buildings. And yet, after the decades of dictatorship that followed the boundless creativity of the ‘JK era’ (initials of Juscelino Kubitschek, president of Brazil from 1956 to 1961), the social renewal and economic development of Brazil gave rise to new eclectic and creative talent. Even if they don’t belong to a particular school like their elders, all of them have developed strong universes by reinterpreting, diverting or breaking with the modern school. In a country of constant growth (+5% expected for 2011), their boundaries of expression continue to grow. Working 80% of the time on residential commissions in a country where the state has failed, they have developed two different ways of looking at architecture and interiors. Neither a generation or

a movement, these free-roaming spirits have won over the respect of their compatriots and are now attracting interest from abroad. Here is the new guard of Brazilian architects. Marcio Kogan, the master of space

Hesitating between two passions, Marcio Kogan shot his first film in 1987 after completing his architectural studies. He finally abandoned this route, nevertheless this experience, and his own film culture helped create his own unique way of looking at the world which he applied to architecture, by creating viewing angles, panoramic views and by dramatising the space in a sometimes spactacular manner. His work (90% residential) privileges simple spaces, often parallelepiped, stacked on top of each other, a fitting tribute to the modern Brazilian movement. Even though Marcio Kogan appreciates the architecture of Lina Bo Bardi or Paulo Mendes da Rocha, it’s the work of Jacques Tati that inspires him. An emblematic figure of contemporary Brazilian architecture, Kogan has also risen to the challenge of creating furniture for leading Italian producers, that we’ll discover in the near future. www.marciokogan.com.br

20-21 tl.mag #11 special guests

Brasil

isay Weinfeld,

for Adriana Varejão, one of the most respected Brazilian artists, a luxurious resort in the region of Bahia and a pavilion in the large park for contemporary art which belongs to the Inhotim Foundation. www.triptyque.com Arthur Casas, tropical luxury

Trained in interior architecture in São Paulo in the 1980s, a period that still reflects his flamboyant style today, Arthur Casas cultivated a luxurious universe that the rich Brazilians fell in love with. His sleek, minimal style mixed with tropicalia is prevalent in private houses throughout Brazil, created with the help of a team of nearly forty people from São Paulo and New York. Chic and minimalist to his admirers, tasteless to his critics, regardless of what people say, Arthur Casas’s style has been very successful, illustrated by impeccable achievements like the Hotel Emiliano in São Paulo, a concentration of restrained luxury, the World Bar at the Trump World Tower in New York or the latest restaurant KAA in São Paulo. www.arthurcasas.com

Arthur Casas

Tryptique, the new fashionable guard

A young team composed of three Frenchmen and a Brazilian woman who met at the École d’Architecture de Paris, in the space of a couple of years Tryptique have proved to be the astute architecture studio of São Paulo. Greg Bousquet, Guillaume Sibaud, Olivier Rafaëlli and Carolina Bueno took the gamble of moving to Brazil in 2000 starting from scratch. Success came early, a year later, when Brazilian jeweller H. Stern entrusted them with the design of his boutique in Rio. This commission proved to be a springboard for their careers. Ever since, the four friends have been working non-stop on upscale projects like the new wing of the most beautiful design store in São Paulo, Mi Casa. In 2007, their international image took off thanks to their work for advertising agency Colombia 325. They were selected to participate at the the Architecture Biennale in Venice in 2008 and won a prize, NAJA, for best young French architecture studio. From their offices in São Paulo, and now Paris, where they also have a studio, the four architects, who have everything going for them, are currently designing a new house

Isay Weinfield, São Paulo elegance

The most celebrated of architects among the new guard is also one of the most modest. Isay Weinfeld, the architect behind the Hotel Fasano in São Paulo, the epitome of ultimate luxury and elegance, doesn’t seek glory, only pleasure. Perhaps that’s one of the reasons why this cultivated man has never become a favourite of the Emirs of the Middle East, or of Hollywood celebrities. This architect, born in 1952, turns his hand to everything. He designs buildings, but also furniture or scenography. An avid collector of Brazilian design, he scours the second-hand shops for objects to incorporate into the spaces that he creates, in an aesthetically pleasing manner. Works like la Forneria restaurant in Rio, the da Vila bookshop or the Clube chocolate concept store in São Paulo amaze us while his houses fascinate us with their incredible elegance. The first monograph to honour his work, commissioned by Brazilian publisher Bei, should at last let the whole world know about this well guarded secret. www.isayweinfeld.com

22 tl.mag #11 special guests

Fasano Las Piedras

india mahdavi iNTerVieW By FérieL KAroUi

The works of this architect and interior designer are as varied as her style is unique. hotels, private apartments, a cinema, scenography… all benefiting from a fusion of spatio-temporal inﬂuences, a permanent dialogue between the materials, colours and prints.

Bishop stool

Heavenly alchemy

— tl.mag : Have your Iranian-Egyptian origins and your international career (United States, England, France and Germany) helped you to define your eclectic influences? i n d i a M a H d aV i : These nomadic experiences are my reference points and have given me a taste for mixing things up. Sometimes I have the impression that I’ve been focusing on memory work for my projects, searching for reminiscences from the past, that are rich in geographic, cultural and human diversity. — tl.mag : You dare to mix influences that are sometimes quite extreme, but you always bring a sense of harmony to your projects. How do you achieve this? Can you take us through your creative process? i . M . : It’s the juxtaposition of frames, patterns and materials that interest me. I also like to tell the story of a place, and recreate an identity.

For the Hotel Monte Carlo Beach, I wanted to wake this sleeping beauty and find a spirit worthy of the Riviera of the 1930s : hence the stripes, argyle patterns and primary colours of the seaside. For the Hotel Thoumieux, it was more of a provincial residence in Paris or a town house in the countryside ; I wanted to bring a density and richness to the small bedrooms that one sometimes feels in certain country houses where pieces from different periods often coexist. — tl.mag : Can you talk to us about your interior for Cinema Paradisio, below Café Germain in Paris? i . M . : I wanted to create a refuge from the city, but also a place where people would immediately be struck by something spectacular. The existing floor plan was quite hybrid in nature, with lots of right angles. I chose to exaggerate these drawbacks pushing them as far as I could, while absorbing them in a discontinuous curve. The studded

24-25 tl.mag #11 special guests

hotel Thoumieux, Paris 2011

The germain Paradisio, Paris 2010

leather portrait was inspired by a painting of Douanier Rousseau, the seating by a certain idea of comfort… I’m very proud of this project, which was finished in an extremely short amount of time, with a very small budget. — tl.mag : You also produce your own furniture, the iconic ‘Bishop’ stool is one example. Is it a complementary approach to interior design or something more personal? i . M . : I design pieces for my interior design projects and include them in my collection of furniture if I think they have a real personality. I opened my Paris showroom in 2003, and this space is more like a gallery, in a laboratory where I regularly change the decor, colours… The DNA of the key pieces can be found in new models year after year and it all ends up looking like a family, whose members are all different but share many common traits. It’s also important to note that I produce all my own furniture and everything is made in France.

26 tl.mag #11 special guests

2. hotel Thoumieux, Paris 2011

— tl.mag : What are your future projects? i . M . : I’ve just finished the Hotel Thoumieux in Paris… but 2011 will be a year for privacy, punctuated by nice houses around the world. My dream is still to make a film… Who knows ? www.india-mahdavi.com

iNTerVieW By MArie FArMAN

Konstantin the strong silent type

We caught up with the designer for the occasion of his exhibition Champions at the galerie Kreo in Paris, which follows his continuing success at the design fairs. Based in Munich, the German designer has become a major influence in the design world.

Konstantin Grcic goes straight to the essential, mass production, it can also be a series of 10, 100, it’s the radical and rigorous aspect of his work 10 000 examples, it all depends on the product. — tl.mag : Where did the inspiration for your new that surprises. At 46 years of age, the designer tables come from? collaborates with all the leading international furniture producers and several of his creations have K . G . : Probably from my fascination for objects related to the world of sport. I’m not necessarily entered into the hall of fame, and will go down in talking about design here, but of performance, history as iconic pieces of design. His fascination functionality and the psychological effect of this for industry is at the heart of his identity but he type of equipment. The graphics are an indication remains faithful to the regular invitations he receives from the galerie Kreo for whom he imagines of the nature of the object, of why it was designed. exceptional pieces that sometimes require several The reason in this case being : racing, speed. — tl.mag : You used lacquer, is it a challenge to find years of research and development. the ideal material for each of your creations? — tl.mag : Is galerie Kreo an ideal place for creative K . G . : These tables are hand-lacquered. I wouldn’t experimentation? Ko n s ta n t i n G r c i c : My approach is not necessarsay that the choice of a material is a challenge ; I ily less restrictive but the gallery offers me the would say that it’s essential to give it a personalfreedom to choose the type of project that I would ity when it’s in production. I always try to find the like to work on. Regarding the Champion tables, it’s material that is most appropriate for my project not possible to produce them in a series, it would and this aspect is fundamental in the development be a project that was too elaborate, too expensive, process of these tables. it wouldn’t make sense. As designers, we’re all in— tl.mag : What are your main influences terested in collaborating with galleries. We can test and inspirations? K . G . : I have lots of sources of inspiration but the our new ideas and this experimentation can be a influences are never direct. The world around me gateway to industrialisation. Design is linked to the inspires me, people, buildings, art, the cinema idea of manufacturing, production and multiplication. But industrial design doesn’t necessarily mean

28-29 tl.mag #11 special guests

Grcic

but also everyday life, the street. As for these tables, there is a strong reference to my interest in extreme sports but I consider it an isolated case. — tl.mag : Is furniture your favourite medium of communication? K . G . : Yes, I enjoy creating furniture, but that doesn’t mean that I have the motivation. Furniture is part and parcel of the daily life of the user, you use it all the time. We have a physical relationship with furniture. It also reflects a culture, uses vary depending on where you happen to be in the world. Making a good chair is a real challenge, a demanding exercise. In my eyes a chair takes on a more assertive personality than a table or shelving unit. We all have a favourite chair on which we like to sit, not only because it’s comfortable but because it ‘suits us,’ rather like a dress. — tl.mag : You also curate exhibitions. Is this a sideline to your current profession? K . G . : Yes, I adore design, I like the idea of being a designer but I also appreciate the work of many of my colleagues and I am interested in the history of our discipline. All of this has led to another role as a curator, and work for the Serpentine Gallery or the International Design Biennale in St-Etienne. The next

1. Table Podify, galerie Kreo, 2011,

exhibition will take place in 2013 at the Vitra Design deal with a craftsman with whom you have a very Museum in Weil-am-Rhein. My own creations will be personal relationship, whereas for something proconfronted with those of other designers : there will duced industrially you’re dealing with engineers. also be works of art, films, writings, etc. Incidentally, I appreciate working with them a lot. — tl.mag : Today craftsmanship is highly valued — tl.mag : What are your future projects? K . G . : I’ve started working on projects for the for the same reasons as new technologies that 2012 Milan Furniture Fair and I have to produce are constantly evolving. Where do you stand in new pieces for all the design houses I work with : relation to these two trends? K . G . : They are not so far apart from each other. In Flos, Vitra, Magis, Established & Sons, Plank. I’ve both cases, the key is the type of material used : fostered a very good relationship with all of these How should you treat it ? What form should it take ? companies, because they allow me to create in What are the possibilities ? Designers need to be peace and work in-depth. I’m also preparing for inspired by the beauty of a material, whether it’s the exhibition at the Vitra Design Museum. high tech or traditional. To me, the difference is that for the craft-produced object you have to www.konstantin-grcic.com

collection Champions, limited edition (6), signed and numbered 2. Table Nada, galerie Kreo, 2011, collection Champions, limited edition (6), signed and numbered 3. Chair one on concrete base, Konstantin grcic industrial design, 2004 4.

Konstantin grcic

5. Monza Chair, Konstantin grcic industrial design, 2099 6. Long chair Karbon, galerie Kreo, 2008, collection Champions limited edition (12), signed and numbered

30 tl.mag #11 special guests

tropicalism TexT By FĂŠrieL KAroUi

in situ fresco, private collection

Exoticism, a recurring theme in decoration, has invited itself back into fashion and into our interiors. This new wave of ‘tropicalism’ bares its soul in a glamorous world to win over the judges and take top honours at this summer’s festival of chic. Glorious decadent years The golden age of the second half of the XXth century is largely explored by creatives who found a way to exorcise contemporary socio-economic tensions during the 1960-80 period. The success of Mad Men, the return of the post-war New Look, 1950s and 1960s furniture, silhouettes marked by an active sex life… testimony to a cathartic need to relive a period which seems carefree and footloose. Today, creative minds draw their inspiration from the same temporality, but latitudes appear to deviate towards zones that are warmer and humid : ‘There is a nostalgic interest in the 1940s, 1950s and 1960s, stresses Sophie Lafitte, a colourist working at style bureau Promostyl. These three decades have exotic and retro connotations that are consistent with strong, striking colours. And the tropical themes blend in well with the generous volumes that we want to see return.’

A stylised Paradise Lost The flora and fauna of the jungle become a reference to Palm Springs and the California of the 1950s, flirting with kitsch, an allusion to Hawaiian prints, Henri Rousseau, and printed tapestries of the early XXth century… The family Palmaceae and other examples of bouquets of foliage in full bloom as seen on exotic, lyrical and bold frescoes, like those by Cyprien Chabert. ‘The shadows in the range of greens and blues, the revival of Hawaiian motifs, but also of ‘Pâte de verre’ (glass paste), blown glass, tactile materials, highly pigmented colours, screenprinted patterns, etc. helped to establish a more stylised exoticism, that wasn’t limited to fabric,’ says Sophie Lafitte. The compositions that decorators put together transformed Winter Gardens into a lush and enchanting paradise, as fashion tinged its cruise collections in the Carribean spirit.

32-33 tl.mag #11 trenDs

dior ss2011

Favoured colours Yellows and greens were shunned for a long time by fashion and interior designers. Considered difficult, sometimes associated with cheap colours, never appreciated in polls, they nevertheless managed to impose a freshness for reviving understated, or bland shades. So beige, greyish-beige, grey, black and white that had long been the dominant colours throughout the economically bleak years gave way to bolder colour combinations in anticipation of a return to a brighter socio-economic period. Papayas were drawn to chocolate hues, chlorophylls interacted with yellow pistils, and exotic woods were surrounded by fuchsias and turquoises.

A mix and blend of influences Meanwhile, with the rising stature of the creatives, architects and designers from Latin America on the international scene, shimmering, bright, joyful colours were applied to furniture, and used with traditional European techniques to revive the genre. The Campana brothers designed a collection of porcelain service plates for Bernardaud, ‘Euro-tropiques,’ and Moissonier reinterpreted their Louis XV commodes, producing a more exotic version. Times and temporality collided with a joyful mix of rich and dynamic influences on a frenzied graphic rythmic tempo : the spirit of holidays in the sun became permanently anchored in the interiors of city dwellers to keep the good summer feeling alive all year round.

when exoticism inspires the decorators... Bernardaud , detail of plate, collection euroTropiques, Cole & son wallpapers, Contemporary i Collection, Palm Leaves

34 tl.mag #11 trenDs

La Banane hotel, st.Barth

s T e FA N o M A r Z A N o

iNTerVieW By hUghes BeLiN

The Chief Design Officer at Philips is continually searching forÂ ways to create new experiences for consumers, notably with light. He delivered his vision of design to tl.mag : meeting the needs of humans, whether it be improving comfort or developing something absolutely essential.

Lighting at rTBF-building in Liège, Belgium

What strikes you first and foremost about Stefano Marzano, is his humility. This accomplished professional has repeatedly been distinguished for individual achievements, and collective ones with Philips Design, the in-house international design department that he runs in Eindhoven (The Netherlands). We met up with him at Euroluce, the Biennial Exhibition of Light in Milan. He insists on having a multidisciplinary team, ‘like the intellectuals of the Renaissance, with competence in mathematics, architecture, painting, etc.’ But as there are no Leonardo da Vinci’s in this day and age, he compensates with an organisation of 500 professionals which include psychologists, anthropologists and sociologists who collaborate with the designers. A dynamic model of cooperation

‘We work together within a highly integrated team, which allows us to probe even deeper into people’s needs, depending on their culture,’ he says, explaining how they create new products that exactly match the expectations of the public, that can sometimes be contradictory from one country to another. A case in point is the different lighting moods created with LivingAmbiance that export concepts of light found around the world, like the Oriental atmosphere in spas, that today can be found in places as far afield as California or Brazil. But isn’t Philips inviting us to live in a virual world ? ‘Art paintings can

provoke moments of ecstasy and passion. But what is the product : the painting or the emotion ?’ ‘When we create circadian cycles, he continues, the light is very relaxing. It causes an effect : and that is the product.’ So the role of design can be quite far-reaching. For S. Marzano, peace and health are the core values of our society. What drives him is the desire to further develop this living environment. As cooperation between humans has not yet succeeded in creating an ideal world, he wants to ‘create opportunities for cooperation. I want to be a participant, not a spectator, and take my responsibilities through what I’m doing today.’ The reward for social innovation

In 2005, the American magazine BusinessWeek named Stefano Marzano one of the four ‘best leaders in the world for 2005.’ By 2001, he had already received the World Technology Award for Design from the World Technology Network. But his proudest moment yet, is the launch of the ‘philanthropy by design’ programme the same year, which among other things enabled the design of Chula through listening to the NGOs and other local participants involved in development. ‘When we look at a problem, we can create a profit by providing a solution, and thus move society towards a better quality of life.’ www.design.philips.com

— The reward of social innovation in 2009, his team received an iNdex:Award from the danish government for the creation of Chula, a very simple oven that allows you to evacuate burning wood smoke outside the home and thus contributing to reducing the number of cases of respiratory diseases in Third World countries (see TL5). Not only did he donate the intellectual property rights to indian Ngos, but he also created an economic model so that the poor could make one using simple tools and then sell it. ‘it’s high tech, not glamour, for next to nothing, but it’s pure design in response to a vital need.’ iNdex:Award network and award work globally to promote and apply both design and design processes that have the capacity to improve the lives of people worldwide. The next award ceremony will take place on 2 september 2011 in Copenhagen during which 5 winners will receive € 100,000 for developing their project in the most sustainable way. www.indexaward.dk

36-37 tl.mag #11 trenDs

Changing the World

fab prefab

rePorT By MArie Le ForT

‘Ecological, cheap, or, a contrario, a high technology product, custom made and expensive, today prefabrication offers a vast range of architectural possibilities, from the minimal to the more ambitious,’ a footnote states at the ‘Home Delivery : Fabricating the Modern Dwelling’ exhibition at MoMA in 2008. A professor at the prestigious Frank Lloyd Wright School of Architecture, Michael Johnson, himself an architect, is also reflecting on the role of prefabrication with his students. ‘Immediately following the Bauhaus period, the noble function of architecture was to build housing that was accessible to all. Today, light years away fom the stardom of the discipline led by some big names, architects are reconnecting with the core elements of our business : giving the masses a chance to live somewhere. Imagine a form, a module that would allow you to generate the largest number of combinations, prefab would become the basic constituent element of a home accessible to all. Synonymous also with emergency housing and a roof for the poorest,’ stresses Michael Johnson. Emergency architecture : the case of Chile Constantly confronted with so many emergency situations – flooding, tsunami, rampant urban poverty, etc. – prefab seems to have conquered many new fields of application, one example is Chilean architect Sebastian Irarrazaval, who, just over a year ago, after the devastating earthquake that destroyed the south of the country, d-612 : school in the district of retiro

came up with the idea of turning containers into elementary schools. ‘If we had waited for the government to release the necessary funds for rebuilding the schools from scratch, the children would have missed school for a whole year. The structure of the containers – a sort of giant brick which we can open at each end or cut the sides to connect together with others – enabled us to act more quickly and in a way that was closer to their needs : a container for a small class, a double or triple for a larger class,’ explains the Chilean architect. The innovative solution from Quadror Reflecting further on the subject, Dror Benshetrit, a designer based in New York, hit upon the idea of a minimal structure that can adapt to the most extreme conditions, to keep your ‘home’ from collapsing. The inventor of Quadror, a powerful geometric structural system whose applications are about to revolutionise architecture, Dror’s aim is to provide a quick, durable solution for housing the poorest people on the planet. ‘Our approach is different to all the others because rather than claiming to have a ready-made solution, we start from existing ones. In the slums, townships or favelas, people are creative : they build their homes with next to nothing. We offer them a framework, a support structure – named ‘Quadror Universal Joint’ – which strengthens the joints of the habitat. Then, it’s up to each person to use the materials that are available in their area – bamboo,

38-39 tl.mag #11 trenDs

If you’re looking to make home improvements in an emergency, the prefabricated route might seem to be the best possible option, or at least a pragmatic one. Like the containers that were transformed into schools overnight, in Chile, after the earthquake or the latest concept by Quadror, patented by designer Dror Benshetrit, that could change the face of the Third World.

40 tl.mag #11 trenDs

wood, metal tubing – to finish their habitat and make an envelope to protect it. Suitable for all climates and latitudes, this powerful system of triangulation could easily be accessible to everyone : a container can hold 1 750 kits – that means one container could help 1 750 families – other projects rely on containers packed full of material to build just a handful of homes.’ With nearly one billion people living under a roof that can’t withstand the forces of nature, offering them a support structure seems such an obvious thing to do that one wonders why nobody had ever thought of it before… All that remains is for the NGOs the world over and bodies like the UN to support this initiative to develop it on a global scale. So don’t say you haven’t been warned ! www.quadror.com/applications (see thumb-index Dwelling then Relief) www.mpjstudio.com www.sebastianirarrazaval.com Quadror (2x)

ACCLAiM ANd exPosUre

BriT iNsUrANCe AWArds Highlighting the most buzz-worthy designs of the year, the Brit Insurance Design Awards are the self-proclaimed ‘Oscars of the design world’. This year’s main prize went to the exquisite Plumen 001, but the list of category winners and nominees offers plenty more to revel in. cCoat UNiQLo + J by Jil sander Plumen ecological light bulb, sam Wilkinson for hugler Branca, sam hecht, Kim Colin & ippei Matsumoto

point that other light bulbs are very sterilized and engineered. They came to me two years ago to turn this into a feasible product.’ Since its launch in 2010 Plumen has consistently been selling out and the accolade of Design of the Year award will surely fuel the demand even more. ‘It’s been overwhelming,’ says Wilkinson, ‘Plumen is now available in design shops, but also high street markets. It’s touching the mainstream, an area where design products normally don’t appear.’ Bringing design to the people is also one of the great mantras of the Brit Insurance Design Awards. Head curator Alex Newson explains : ‘It is important that the project is not simply the Design Museum telling the public what good design is, but rather a response to suggestions from design experts all over the world. By doing this we are not only able to chart and record emerging and evolving trends, but also demonstrate the impact of design to a public who may have been previously unaware of its scope and reach.’ Often it is the populist nomination choices that ensure the mass appeal of the Awards. In 2009 the omnipresent Barack Obama poster by Shepard Fairey won the Design of the Year award and this year’s winner for Transportation was the Barclays Cycle Hire system, a public favourite which sparked a biking revolution on the London streets. However pro- or retrospective it be, the Design Museum knows how to draw in a general audience and with the Brit Insurance Design Awards they have found the perfect, bite-size update on the best creative efforts of the past twelve months.

The ‘Brit insurance designs of the year’ exhibition runs until August 7, 2011 at the design Museum in London. For more information, please visit www.designMuseum.org

42-43 tl.mag #11 trenDs

TexT By ArNALdo sMeT

Curated by the Design Museum in London, the Brit Insurance Design Awards are chosen by an international panel of design experts. The core values of accessibility and variety are reflected in seven categories as diverse as architecture, fashion, furniture, transportation, graphic, interactive and product design. In line with last year’s winners, it was the more functional and austere designs that prevailed in the 2011 edition. Uniqlo +J, the rigorous and minimal collection by Jil Sander for the Japanese high street retailer came out on top in the Fashion category, ahead of more lavish offerings by Lanvin and Gareth Pugh. In the Furniture category it was the understated Branca chair by Industrial Facility that won, beating voguish entries such as the Vigna Chair by Magis and the Thin Black Lines seat by Nendo. Stephen Bayley, chairman of the jury, affirms : ‘Never more than this year : there’s a strong sense of austerity, responsibility and realism here. 2011 will be remembered for thoughtfulness rather than exuberance, but that’s no bad thing. The best definition of design is, after all, intelligence made visible.’ And intelligence is exactly what characterizes the Design of the Year, Plumen 001, which was chosen over high-profile options like the iPad and the Dyson Fan. The stylized low-energy light bulb by British designer Samuel Wilkinson for Holger is one of those inventive and natural-looking designs that makes you think ‘how come no-one has thought of this before’. ‘In 2007 Holger did some rough prototypes made of neon that weren’t real designs,’ says the designer, ‘just to illustrate the

reNZo ros

iNTerVieW By JAsMiJN VerLiNdeN

Renzo Rosso was not surprised when a Facebook post sparked the revolution that toppled the dictatorial regime in Egypt at the beginning of 2011. According to the founder and owner of Italian fashion brand Diesel, everythingâ&#x20AC;&#x2122;s possible thanks to the web and its applications.

Behind the scenes, diesel island campaign

dieseL isLANd

o 44-45 tl.mag #11 trenDs

Tapping into this mood as well as into the worldwide complement the national anthem and buy islanddissatisfaction with the political climate, Diesel friendly clothes via the interactive catalogue. created its own nation : Diesel Island. tl.mag met up Meanwhile, Diesel stores worldwide will become with Rosso to discuss the expansion of his empire. the official embassies of the island, where — tl.mag : Where did this idea of a proper Diesel fans get the chance to apply for official nation come from? Diesel Island citizenship. r e n zo r o s s o : Diesel started out as a fashion — tl.mag : What’s the value of the Diesel brand but grew to be a progressive lifestyle. To Island campaign for the brand? widen the Diesel experience, we launched a home r . r . : With this campaign, we take a step collection in 2008 that translates the clothing de- into the personal universe of our clientele, which becomes progressively virtual. Also, we criticize tails and the DNA of the brand in interior objects. We currently work together with Foscarini, Moroso contemporary practices that we disapprove of by parodying them in a humorous way. With this camand Zucchi for our respective lighting, furniture paign, we launch an unseen concept but remain and textile collections. After establishing the full loyal to Diesel’s signature style of being avantDiesel design spectrum, we decided to take the garde, non-minimalist and aggressive without idea of a brand ‘universe’ one step further and being arrogant. However above all, this campaign to found our own virtual country where the brave was fun to develop and that’s my main objective ! Diesel fans feel at ease. — tl.mag : How do you become a citizen? Discover the greatest little nation in the world r . r . : The print and online campaigns show the yourself at www.diesel.com first pioneers arriving on the island, establishing a real nation by dealing with well-known issues such www.diesel.com www.diesel.foscarini.com as healthcare, immigration or religion in a frisky www.moroso.it manner. On the Diesel website, virtual visitors to www.dieselhometextile.com the island can shape its laws, add public holidays,

Les couleurs de nos souvenirs, éditions du seuil, 2010 Noir, Histoire d’une couleur, éditions Points, 2011

michel pastoureau STORIES

COLOUR

Michel Pastoureau has diﬃculty enthusing his peers with his passion for symbols and history of colours, a subject considered by historians as superficial. After more than thirty years of research, his monochromatic monographs like the Petit livre des couleurs have become standard works of reference.

Les couleurs de notre temps, his latest opus, retraces the evolution of symbols of the past 50 years by invoking the collective identity as his personal memory. With this chromatic journal, the colour historian revisits the associations that we make between an object, person, idea… and its colour. Far from the traditional exercise of childhood memories, although Michel Pastoureau’s autobiography takes colour as its underlying theme, it is not aiming for accuracy : ‘The memory of my dreams is stronger than the memory of my experiences’, he stresses. If certain colours can have more of an impact on our memory (those of a car, a favourite item of clothing, objects that

belonged to loved ones), others may be substituting reality, expressing a symbolic, mythological and fertile imagination.

From honey yellows to deep blacks Thus Pastoureau associates the surrealism of honey yellow with the colour of a jacket worn by an old friend of his father’s, André Breton. However, there is no evidence, photographic or otherwise, to prove the existence of this piece of clothing. Whether a product of one’s imagination or true to reality, these quadricoloured memories that we invoke emphasise the relationship of society with colours : vocabulary, fashion, imagery,

design… An aspect that the author treats in ‘Histoire du noir’ recently published in paperback, through social and polysemic practises of this (non) colour. On the one hand humble, dignified, luxurious and authoritarian, but on the other hand sad, deadly, miserable and sinful, everyone has his own personal relationship with this shadowy shade. For Soulages, it would become profound and exhilarating with his ‘outre noir’ (beyond black) on canvas. For Coco Chanel, it would be synonymous with elegance. For some, it will take on the appearance of the colour they have in mind. As for the author, he’ll forever associate it with his favourite partner - the slim effect !

47 tl.mag #11 pHilo

iNTerVieW By FérieL KAroUi

Women of the world

rePorT By CATheriNe dAUriAC

Initiator, 2004, sculpture composed of fiberglass, silk and mixed media,

installation comprised of two sculptures, collection of Vicki and Kent Logan. 2.

Ceramic dress, The virgin of sĂ¨vres, Villa empain, Bruxelles. 3.

Madame grĂ¨s, evening gown, 1955, silk jersey cream and pale grey, Bourdelle Museum, Paris

Charlie Le Mindu, headdress mask with braids, 2009 (ss2010). 5.

Photographer, sculptor and video maker Maimouna guerresi

explores the links between the body and mind and attempts to show the marginal role of women in the Muslim world. 3.

bodies and souls unveiled 5.

Dark colours cover up every available piece of flesh on women’s bodies, a reality that has led to the phasing out of traditional Oriental costumes – resulting in the disappearance of the final remnants of a secular art of clothing. Somewhere between popular art and politically motivated works, two exhibitions lift the curtain on the fantasies of the Orient.

The Orient unveiled With 173,840 visitors in 91 days, an average of 1,906 visitors per day, the exhibition ‘L’Orient des femmes as seen by Christian Lacroix,’ has been lauded as a ‘colourful jubilation, a fascinating study of Oriental costume.’ Beyond their historical and ethnological significance 150 traditional costumes and finery from the Middle East tell us a little bit about the history of these women who gave up a part of themselves, their hands, gests, tastes and talent, to the silk, linen and cotton threads, preparing each piece as a work of art. This is about know-how developed in privacy and passed on from mother to daughter because ‘each dress is an autobiography,’ says Christian Lacroix : dresses for festive occasions, coats, veils and headdresses are all part of the bride’s trousseau. What do they have in common ? Straightforward cut, full flowing geometric forms, sleeves that are tailored in the shape of birds wings that touch the floor and give the effect of a bird in flight when the arms are raised. But above all a pro-

fusion of embroidery, thousands of stitch points and as many symbols, some dating back to very ancient times. ‘Emboidered by the hands of young girls for a future marriage, these dresses followed their itinerary from the father’s home to the husband’s home,’ says the poet Vénus Khoury-Ghata… These dresses rise up in the obscurity of the Musée du Quai Branly, floating black and white dresses embroidered with red thread, the colour of blood and the soil of Hauron, ‘a frontier between childhood and the rest.’ This poetic journey, punctuated with sumptuous pieces (and much more modest ones, emotionally charged embroidered dolls, exquisite sketches) that, for the most part, were exhibited for the first time in France, reveals the intimacy of these women who, for centuries, have sought to create ways to enhance beauty and exist within societies that have marginalised them for such a long time. The exhibition and its lavish catalogue endeavor to present costumes worn by villagers and Bedouins whose richness and brilliance provoked the admiration of travellers in the last century. Many though were also disconcerted, as attested by geographer Jacques Weulersse : ‘They expected to see peasant clothing, instead they discovered costumes fit for a ballet opera.’ (Paysans de Syrie et du Proche-Orient, Paris, Gallimard, 1946). With the exception of the moving XIII th century child’s dress found in a cave in Lebanon on loan from the National Museum of Beirut, most of the exhibits date back to the end of the XIXth century

48-49 tl.mag #11 icon revival

A social, geographical and religious marker, the ancient art of textiles is primarily a language. Since the 1970s, the image and physical appearance of women in the Middle East has changed, ‘Islamic dress codes’ have been enforced everywhere.

to the present. They come from the collections of the Musée du Quai Branly and from the most outstanding private collection of costumes and finery from the Middle East, that of Madame Widad Kamel Kawar (Jordan) who recently confided to the Le Monde newspaper : ‘Clothing reflects the desire to please and is a potential weapon in a woman’s seduction arsenal. This charm is so strong that an Assyrian law will soon demand that the wives of free men cover their attractive hair with a long piece of fabric whenever they come into contact with men, when they leave their home.’

Modesty and anger Wigs, scarves and makeup have characterised women’s lives for centuries. Between concealment, unveiling and revelation, does the veil leave a choice between submission, ruse or rebellion ? From the low status of women in some societies of yesterday and today to the precariousness of women’s liberation, their concealment under different types of veils and clothing (abaya, burqa, chadri, haik, hijab, jilbab, khimar, niqaab, tchador, etc.) to the poor coverage in the media, what

are the realities and situations that have determined and will always determine the relationship of society to the female body ? By inviting thirty artists from the East and West to show at the Villa Empain in Brussels, the exhibition ‘Pudeurs et colères de femmes’ proposes a dialogue between works that evoke modesty and constraint and those that choose this ‘grace’ tinged with fear, shame, politeness and taboos, that dictate women’s behaviour as soon as they pass through the innocence of childhood, regardless of their culture. How do these women of the Orient live today, beyond the stereotypes (a little too simplistic sometimes) that we, in the West perpetuate ? If the veil is immodest then nudity has become modest, ‘covered with a veil that is immaterial and invisible, but perceptible to all, that reveals the spiritual beauty.’ Whether material or invisible, the veil is revelation, the two words also share the same Latin etymology, velare. ‘What remains is humour or derision, as a remedy to anger or fear.’

www.quaibranly.fr, www.villaempain.com, www.bourdelle.paris.fr

6. Madame grès exhibition, Bourdelle Museum, Paris 7. Model Alix by Arik Nepo, 1938 8. izdihar, 2007, video, 1 min. 48 sec.

l’orient des femmes as seen by Christian Lacroix, instituto Nacional de Antropologia e historia, Mexico (iNhA), this coming Autumn Pudeurs et colères de femmes, Brussels, Villa empain, until 25 september 2011 / Curator : diane hennebert Madame grès, Bourdelle Museum, Paris, until 28 August 2011

50 tl.mag #11 icon revival

body adornment www.craftscouncil.org.uk/collect –– www.klimt02.net

Fetish-like objects and nature-inspired conceptual pieces have replaced diamonds as a girl’s best friend. Finding inspiration at the Collect fair in London and at online community Klimt02, tl.mag presents a selection of favourite contemporary jewellery designers. A seLeCTioN By JAsMiJN VerLiNdeN

Run baby Run by Isabel Dammermann

The ‘run baby run’ ring by hannover-based designer isabel dammermann, is a composition of silver, Fimo clay, shell and tape. The common thread that runs through dammermann’s work is the constant search for balance and scale by juxtaposing and abstracting natural elements.

www.isabeldammermann.com

today 3

Necklace by Nuntaka Hopkun, courtesy Galerie Soﬁe Lachaert

Thai designer Nuntaka hopkun aims at developing jewellery that is sensually pleasing to the touch, but at the same time gently disturbing in context and form. For this necklace, he chose to work with medical grade silicone rubber that has been developed for making artificial skin. Wearing the same tone as our skin blurs the boundary between the body and its adornment.

www.soﬁelachaert.be

Bangles by Katherine Wheeler

Melbourne-based artist Katherine Wheeler creates mysterious and fragile jewellery in an impulsive and intuitive manner so that it retains the energy of a quick sketch. she combines imagery from the natural world with forms of everyday domestic objects to create a synthetic organism or her own version of nature.

http ://katherinewheeler. com. au

52-53 tl.mag #11 cre ative skills

The Purple Ring by Maud Traon, courtesy Lesley Craze Gallery

Maud Traon, a French royal College of Art graduate living in London, elevates the organized mess to an art form. Traon’s distinctive technique is a mix and match of a diverse range of materials such as Fimo clay, copper, silver, beads, plastic toys, glitters and found objects. The result : highly individual chunky rings, infused with a touch of chaos and magic.

www.maudtraon.net www.lesleycrazegallery.co.uk

Bug Earrings by Märta Mattsson

swedish designer Märta Mattsson sees beauty in things that other people find strange or even repulsive. She draws inspiration from the rarities in 18th century cabinets of curiosities. At the time, people collected rare objects because these gave them the feeling of being around something extraordinary and marvelous. Likewise, Mattsson uses dead creatures and gives them a new life as objects of astonishment.

www.martamattsson.com

Grandma goes to Tokyo by Elise Hatlø, courtesy Gallery Format

elise hatlø studied market communication and metal art and jewellery in oslo. in her necklace and brooch collection ‘grandma goes to Tokyo’, hatlø mixes traditional lace ornaments with the ﬂuo colours that are typical of the Japanese harajuku culture. she is primarily interested in how tatting patterns become surreal and humoristic when combined with strong ﬂuorescent colours.

www.elisehatlo.com, www.format.no

Peace Parrot by Felieke van der Leest, courtesy Gallery Rob Koudijs

german artist stephanie Fleck considers herself a collector of symbols and images, little stories and impressions. She finds inspiration in discoveries from ﬂea markets and folk or native art and tries to translate these inﬂuences in objects that speak a universal language.

in the series ‘once upon a time in My West’, dutch artist Felieke van der Leest translates childhood fantasies of the mythical Wild West into a colourful collection combining beads and textile techniques. however, in spite of the humour and cheerful colours her jewellery comments on the bitter aspects of the real world.

www.marzee.nl

www.feliekevanderleest.com www.galerierobkoudijs.nl

Inside brooch by Nevin Arig

The creations of Brusselsbased designer Nevin Arig are a compilation of memories of barefoot journeys by the waterside and the noise of istanbul, the city where she grew up. Arig combines found pebbles, shells and leaves which she considers precious not because of their monetary value, but because of what they represent in terms of memories.

www.nevinarig.com

(precious) Stones by Lital Mendel

For her collection (precious) stones, israeli artist Lital Mendel tried to come up with an accessible, equally beautiful alternative for diamonds. she collected random stones on the street and assembled them in a simple golden frame. Mendel herewith does away with the ‘bigger, better, shinier’ trend and people’s tendency to overlook the beauty of things that surround them on a day-to-day basis.

www.litalmendel.com

54-55 tl.mag #11 cre ative skills

Necklace by Stephanie Fleck, courtesy Galerie Marzee

inspired by nature, children’s stories and 19th century romantic paintings, danish artist Alidra Alic creates handcrafted eccentric and fairy-like jewellery. she employs a self-invented technique of conserving and casting ﬂowers in plastic in combination with precious metals and stones. As Alic states herself, her creations are worn as statements of art for those who dare !

www.alidraalic.com

The Blank Canvas by Donna Brennan, courtesy Galerie Marzee Rings for a couple by Jonathan Mathew Boyd, courtesy Galerie Marzee

Jonathan Mathew Boyd works with the complex relationships that exist between objects, written language and the body and in how language shapes people’s thoughts about the object and its context. his ‘rings for a couple’ consist of one ring with a stamp expressing ‘Without you i am rendered useless’, the other contains an ink pad.

www.jonathanmathewboyd.com, www.marzee.nl

With ‘The Blank Canvas’, Melbourne-based donna Brennan, literally sheds new light on the perception of jewellery as a purveyor of wealth and status. Brennan transformed found objects in a ‘blank canvas’ by covering them in white resin and adding a coating of UV-sensitive paint which reveals the true colour of the object when exposed to UV-light.

www.donnabrennan.co.uk, www.marzee.nl

Hosting Parasites III by Kathy Ludwig edition Galerie BSL

german designer Kathy Ludwig graduated from the design Academy eindhoven with a collection of performative jewellery produced in a limited edition of 8 pieces by galerie BsL. hosting Parasites consists of three smoked oak cabinets of curiosities that turn ﬂesh into the actual showpiece. The four ‘latex leeches’ in the third case interact with the body by leaving a red mark on the body after removal.

www.kathyludwig.com, www.galeriebsl.com

56 tl.mag #11 cre ative skills

Hyacinth/ Tulip from the Flora collection by Alidra Alic

sèvres cité de la céramique iNTerVieW By MArie FArMAN

‘Mise en œuvre’ by sismo Sèvres – Cité de la céramique (born out of the fusion of Manufacture nationale de Sèvres and the Musée national de la céramique) is a unique institution in France. It has both production workshops, still in operation, and an exceptional collection of objects from all eras and civilizations. In recent years the institution has reinforced its commitment to contemporary creation. David Caméo, the current CEO, is the man behind many of the innovative and ambitious projects, one example being to entrust industrial designers to curate an exhibition on a medium that needs upgrading. Keeping the process alive for everyone’s benefit

It’s in this dynamic that Sismo duo Antoine Fenoglio and Frédéric Lecourt made a proposition to the curators of the Cité, offering to come up with a solution to an initial but crucial question : But how is it made ? ‘People love it when we explain to them how the objects are made, they take on a different meaning,’ explains Antoine Fenoglio. The aim of the exhibition was to open up the rich savoir-faire, making it accessible, without getting lost in technical details. So they drew up guidelines on procedures that speak to us all : turning, molding, shaping, engraving or painting… Eleven verbs in total, all related to the manufacture of ceramic parts. To illustrate these different themes, historical objects from the collection of the cité are confronted with others identified by Sismo, like emblematic everyday objects belonging to the field of design. ‘There are several ways of looking at the exhibition : there’s something in it for both the amateur and the specialist. It’s about looking for the object that suits you best in the window, then looking at other objects around you to finally realise that they have one thing in common, a recognisable style,’ continues the designer.

From the ateliers to the museum, creation is ongoing

This confrontation of the old with the contemporary has almost become fashionable practise for curators of exhibitions today ; a number of museums and galleries have tried it, with varying degrees of success. But in this case it really works. The visitor discovers different techniques that have been mastered by machine or by hand, and can marvel at the complicity between two pieces that were sometimes made over four hundred years apart from one another. ‘We want to show how an everyday object can help to understand the methods used to produce an older, or more contemporary piece of work, how in turn the confrontation with masterpieces can offer another perspective on the everyday object,’ stresses David Caméo in the exhibition catalogue preface. And so an earthenware pharmacy vase, dated 1570, interacts with the Ray stool by Radi designers (1999) to illustrate the verb turning, and a plate representing the triumph of Julius Caesar, painted around 1570, is with the ‘Snail’ plate by Hella Jongerius (2004) illustrating the verb paint. ‘We always wanted to fight against elitism, we wanted to show that a mass produced object which is accessible to everyone can also be as interesting as a unique object, quality doesn’t necessarily come from unity,’ concludes Antoine Fenoglio. The wager has paid off. www.sevresciteceramique.fr 1. exhibition poster (detail) ‘Mise en œuvre, le quotidien et l’exceptionnel sous l’œil du design’ 2. Fukasawa Vase Métro 2010 3. Mouldings

58-59 tl.mag #11 cre ative skills

The Cité de la céramique opened a new space dedicated to contemporary works last Spring. The inaugural exhibition, which runs until 26 September, ‘Mise en œuvre, le quotidien et l’exceptionnel sous l’œil du design’, conceived by Sismo, guides us through the ‘glossary’ of savoir-faire and production processes of ceramics.

1. rePorT By KAThryN sMiTh PhoTogrAPhy By sTePheN PAPANdroPoULos

living with ceramics a ceramic specialistâ&#x20AC;&#x2122;s view Whether a simple pastime, fetish, or the construction of a private universe, creating a satisfying personal collection is enriched by a curatorial partnership. Collecting collaboratively exceeds possession of the object and embraces a relationship with the process, the material and the maker.

1. Cathy Coëz installing a wall drawing of 211 black glazed ceramic

elements on the drawing room wall at Ampersand house and gallery, Brussels. #21 Black 211, 2009, 200.0 cm ø by 15.1 cm. 2. detail of pigment drenched clay ribbon by Wouter dam. 3. The completed dynamic installation by Cathy Coëz

60-61 tl.mag #11 cre ative skills

reaching 2 metres in diameter.

Annette Sloth created Puls, a gallery dedicated to ceramics, in 2000. Puls is both a modest space and a bold attempt to reorient the compass point in the world of ceramics to 50 degrees north ; Place du Châtelain in Brussels, to be exact. Originally from Denmark, Annette’s knowledge and magnetic enthusiasm for ceramics draws collectors from around the world. So far, she has shown the work of over one hundred artists and learned first hand to recognise and nurture the deep-rooted human desire to collect. Further, with her private collection, Annette has seen several pieces make the journey from white cube to domestic interior. So, who better to ask how private collectors can live with contemporary ceramics as art ? ‘The creation of a coherent and crafted collection is an art in itself. The goal should be to create a unified but not uniform collection. Often stimulation exists in contrasts, in point and counterpoint.’ Annette illustrates her points by reference to four artists with work on show from September 2011. The grand spaces of partner gallery, Ampersand House, enable Annette to curate ceramics installations that explore scale, dimension and interaction. She points to Cathy Coëz, for an example demonstrating how one might live with ceram-

ics arrayed as large clusters. The French artist is well known for her dramatic wall ‘drawings’ that group hundreds of unique clay or porcelain elements. These are works appropriate for museum collections yet work equally well mounted in a typical maison Bruxelloise, such as Ampersand House. Stand back and Coëz’s #21 Black 211, reads as a Baroque explosion, some two metres in diameter. Approached from an angle, the projection of forms from the picture plane presents fresh spatial interactions with the domestic architecture. At closer quarters, each of the two hundred and eleven glazed pieces reveal a captivating individual delicacy. There is a vertiginous quality to the work that causes a physical intake of breath, as though they might at any moment burst into life. Herein lies the beauty of living with a Coëz ceramic drawing – it awakens and heightens the senses, making one more alive to energetic potential. Ceramics can be just as impactful on a more diminutive scale. Louise Hindsgavl works with forms that comfortably inhabit domestic spaces : a tabletop, or mantel. Beware. These porcelain figurines in their virginal white glaze flatter to deceive. For Hindsgavl, art fills the gap between initial perception and later inspection.

metal and wood. 72.0 cm by 35.0 cm by 42.0 cm.

The anodyne pastoral conventions of 18 century conversation pieces reveal themselves in Hindsgavl’s hands to be fictive monsters : a chimera here, a satyr there. Maenads complete a Bacchanalian drama of lust, perversion and menace. These pieces thumb their noses at conventional notions of good taste and morality. If once the personal morality of the collector was intimately tied to the concept of ‘good taste’, these works wittily subvert the connection. ‘No hay reglas in la pintura,’ Goya said as far back as 1792. There are no rules in painting. Nor, so it seems, in ceramics. As if to demonstrate that art need not disrupt or confront, Annette draws from her cupboards a vessel by Bodil Manz of almost unsustainable translucence and fragility. Wouter Dam’s pigment-drenched spooling clay ribbons make the same point. These pieces create islands of serenity, reverence and quiet contemplation of beauty. Manz and Dam confront the viewer with technical not moral questions. How do Manz’s simple, cylindrical vases carry geometric colour fields that seem more weighty than the porcelain itself ? How does Dam fashion from clay ribbons that all but unfurl and float away ? Both artists produce work that is emotionally transporting. Manz’s vessels combine a thinness that borders on the ethereal with geometric precision and intense colour that anchors and reconnects the pieces to earth, nature and life. Light passing effortlessly through the vessels generates a transcendent quality and wonder in the eye of the observer. Cradling one of Bodil Manz’s cylinders is the physical manifestation of William Blake’s words ‘Hold infinity in the palm of your hand’. Dam’s lyrical tabletop pieces demand

viewing in the round. Circling the sculpture one observes the formal architectural resolution from every angle, the shadow and light, the presence and absence of form. His sculptures take the heart on a journey into a weightless world. This is a world of replete with liberty and openness. The theoretical ribbon that connects Coëz’s vertical constellations with Dam’s plinth-mounted clay looping forms is artistic exploration - expressed with new techniques, colour combinations, themes and ideology - taking the collector forward toward the far reaches of ceramic art. To live with these ceramics is to create a private universe that enriches, feeds the senses and awakes wonder at human creativity.

Exhibition Details: Puls gallery will be showing Louise hindsgavl, Wouter dam [tba – 2 further artists], from 10 september 2011, www.pulsceramics.com Ampersand house and gallery, 30 rue Tasson snel, 1 060 Brussels will be showing Cathy Coëz installation and sculptures from 10 september 2011, www.ampersandhouse.com Puls gallery, Ampersand house and tl.mag will be hosting a series of ‘Living with Ceramics’ events during design september at Ampersand house, opening on 10 september, events on 11 and 24 september, www.designseptember.be

62 tl.mag #11 cre ative skills

envy by Louise hindsgavl, 2010, porcelain,

keeping the F L A M E in the K I L N alive By challenging eminent architects and designers like Zaha hadid and the late ettore sottsass to create iznik tiles with new shapes and motifs to meet the needs of contemporary designers,

Iznik revi the iznik Foundation in istanbul is breathing new life into a 600-year-old tradition.

rePorT By MiLes sTANdish

iN isTANBUL

Favoured by sultans in the 15th century, during the ‘golden age’ of the Ottoman empire, Iznik tiles adorned palaces and grand mosques throughout the land until the 16th century when demand suddenly waned, the ancient art ground to a halt, and all records associated with the production of these unique tiles suddenly vanished without a trace. Thankfully many examples of Iznik tiles can still be found in museums, mosques and former palaces - the V&A in London houses the largest collection of Iznik pottery in the world - but until as recently as fifteen years ago it had never been possible to re-create the unique colours, durability, advanced patterns and flawless quality associated with 16th century traditional Iznik tiles. It was only after years of research and experimentation initiated by the Iznik Foundation - which was set up in 1993 by Prof. Dr. Işil Akbaygil, with the principle aim to rediscover the lost Islamic art of making Iznik ceramics, - that the first authentic Iznik tile to be produced for 400 years saw the light of day.

Contemporary authenticity

Today, Iznik quartz tiles and custom made panels and mural designs can be found in private residences and public settings throughout the world, the Iznik Foundation continues its research and development program in its industry leading laboratories in Iznik, and leading artists and designers drop in for inspiration, and to occasionally lead workshops. One such artist is Elif Uras, who lives and works between New York and Istanbul. In Uras’s decadent world, veiled women, belly dancers and nudes co-exist with developers, religious fundamentalists and suicide bombers. For her sculptures produced at the Iznik Foundation in Turkey, Uras transposes her narratives onto three dimensional surfaces while incorporating the vocabulary of the Iznik tradition. Oriental arabesques and Islamic ornamentation are woven into Western painterly traditions. Zaha Hadid, Ettore Sottsass and many other leading creatives from Turkey and abroad have all played their part in renewing an

64-65 tl.mag #11 cre ative skills

val

1. elif Uras, ottoman Belly, 2010 2. Black tiles designed by Zaha hadid, white tile pattern designed by Murat Morova 3. defne-Koz iznik-inspired bathroom

do the skilled artisans that produce these authentic designs benefit from handling this versatile and flexible building material, the rest of us can rejoice in the knowledge that a process revived from the 15th century is able to provide healthy ecological living spaces for future generations to come. www.iznik.com

66 tl.mag #11 cre ative skils

tile collection for vitrA

series, which featured blue tones that recreated the tranquility of the traditional Iznik cobalt blue for a modern bathroom setting. In a second series she reinterpreted the unique geometric arrangement (Seljuk motifs) of Iznik tiles, and in her third series featured the Mediterranean cypress, which Koz transformed into a stylized modern motif. It’s worth pointing out that ‘authentic’ Iznik Foundation tiles are placed without any visible grouting, therefore avoiding mildew or bacteria growth, one of the reasons why they can be used so successfully both indoors and out.

interest in a dying tradition, designing contemporary patterns to inspire a new generation of architects and designers. While the beauty of Iznik tiles is undeniable, it’s not for everyone’s budget, and with a seventy-day wait for each tile, demanding clients will need to be blessed with a large dose of patience. For those that have neither the budget, or patience, you might want to cast your eyes on Defne Koz’s Iznik-inspired bathroom tile collection for VitrA (a leading player in the luxury bathroom sector, not to be confused with the Italian contemporary furniture producer). Although you can’t compare the quality of these tiles with the ones produced by the Iznik Foundation, this collection was responsible for spearheading a resurgence of interest in Iznik tiles. Koz, who also worked with Ettore Sottsass in the 1990s, picked up a Red Dot Award in 2006 for her Iznik tile

glazed and confused ?

If you’re in Istanbul, chances are you might come across a piece of Iznikware as you stroll through the impressive Grand Bazaar. But don’t be fooled by imitations ; genuine Iznikware is 85 percent quartz stone and will last for a thousand years. Under the glassy coating the colours should shine with a jewel-like intensity, pay particular attention to reds that are notoriously difficult to produce. Potential buyers take note : the only authentic Iznikware produced in Turkey today emanates from the design ateliers of the Iznik Foundation you’ll find their logo stamped on the base of each of their unique creations. One interesting, but little-known fact concerning Iznik tiles, especially in light of the recent tragic events in Japan, is that they absorb harmful radiation, collecting static electricity and electromagnetic waves, so not only

in 1953, the American design duo ray and Charles eames designed their ‘hang it All’ coat hanger that has since become a widely recognized object.

tamawa

inspired by the iconic status of eames’ spheres, Brussels-based design studio Tamawa uses only bakelite balls to create its own universe of design objects.

jeu de boules iNTerVieW By JAsMiJN VerLiNdeN

— tl.mag : Where does the name ‘Tamawa’ the collection. I believe it’s crucial in today’s come from? enormous design universe to communicate H u b e r t V e r s t r a e t e n : When deciding on a name a clear and recognizable brand image. The for the design studio, I looked for a term that bakelite ball is a visually strong symbol that ‘summarizes’ our visual language but at the same stands out. I don’t consider working with this time is interesting from a business point of view. symbol as limiting because my main focus is on Tamawa is Japanese for ‘bead on a steel ring’, liter- conceptualising attractive design solutions and ally referencing the spherical shape we’re working investigating the possibilities of the material with. As search engines become increasingly I’m working with. In that respect the bakelite important in marketing and sales, Tamawa is a spheres are a means but not a goal. — tl.mag : What are the latest Tamawa suitable name because it is not a common word. developments? Our website pops up as the very first result when H . V . : After jewellery and watches, the collection tapping ‘Tamawa’ in Google. has moved on to homeware and lighting in col— tl.mag : Why did you build your visual language laboration with the Big-Game collective, designer around bakelite spheres? Isn’t this limiting? H . V . : Leaving aside the ‘snooker ball’ folklore, Sylvain Willenz and artist Yann Lestrat. With this bakelite is a pure and light industrial material extended collection, we can target different distriwhose qualities are not confined to billiard bution channels and show that bakelite is back ! tables. The ‘game’ concept is nonetheless still somehow present in the frisky character of www.tamawa.be

1. Pepper mills 2. Lighting 3.5. UsB 21 4.

4. TW 27, watch

68-69 tl.mag #11 cre ative skills

PERMISSION PERMISSION

ART DIRECTION & PHOTOGRAPHY YVES LAVALLETTE

www.yves-lavallette.com STYLIST YOSHIKO TANGE

www.yoshikotange.com Retouching Cristian Girotto www.cristiangirotto.com Models Dimphy Janse @ Nathalie Brett Reeves @ New Madison Hair Hugo Raiah @ Atelier 68 Make up Rafaël Pita @ B Agency Photo assistant Quentin Curtat Set lighting assisitant Clarke Studio NLight Stylist assistant Frédéric Chane-Sy Military jacket, Cap DOURSOUX Cotton shirt BURBERRY BRIT Wool trousers, Tie EHUT Leather derbies HERMES Watch MARCH LAB

Her : Wool dress Blumarine Leather stiletto shoes Paule Ka Tights Falke Silk scarf Barbara Agnes Leather handbag Hermès Him : Cotton car coat, cotton trousers Lacoste Poplin shirt Burberry London Silk tie Marchand Drapier Leather Derby shoes Pal Zileri

Her : Turtleneck knit top, leather belt Paule Ka Wool trousers Carven Leather gloves Maison Fabre Lace and leather sandals Bottega Veneta Him : Military jacket, cap Doursoux Cotton shirt Burberry Brit Wool trousers, tie Ehut Leather Derby shoes Hermès Her (opposite page) : Tailored tweed skirt, Mousseline top Bottega Veneta Leather handbag Roger Vivier Pink gold ring set with smoky quartz and diamonds Herzo

Her : Organdi print top, Mousseline print skirt Junko Shimada Knitted cardigan Tara Jarmon Leather stiletto shoes Paule ka Wool tights Falke White gold ring set with rhodolite and pink sapphires Herzo Her (opposite page) : Wool sequin dress Gaspard Yurkievich Him (opposite page) : Wool jacket Burberry London Poplin shirt Doursoux Tie Ehut

Her : Neoprene coat, tweed trousers Paule Ka Leather gloves Maison Fabre Him : Turtleneck wool sweater Pal Zileri Wool check trousers Hermès Leather belt with silver buckle Hermès Watch March Lab

99 de duo masters

p. 82

The Eames Charles & Ray Eames [Us]

in an interview (1980) for the American Art Archives ray eames said: ‘We worked always simultaneously on projects and we’ve never taken any job that we didn’t think was worth doing, so our interest had to be in it in some form.’ ray Kaiser and Charles eames are the most famous couple in American design history. MB

A shAred VieW oF desigN, desigN FAshioN ANd ArChiTeCTUre

A rePorT CreATed UNder The direCTioN oF Lise Coirier. ediToriAL CoordiNATioN ANd

iCoNogrAPhy : AUréLie BUNNegheM, sUZy CAsTerMANs. TexTs By MoNieK BUCQUoye, CATheriNe dAUriAC, FLoreNCe Coirier girAUdoN, gUy diTTriCh, gioVANNA dUNMALL, MArie FArMAN, MArie Le ForT, FérieL KAroUi, siLVANo MeNdes, ArNALdo sMeT ANd JAsMiJN VerLiNdeN.

www.eamesfoundation.org

the new twins

p. 84

Asif Khan Ltd. Asif Khan & Sakiko Kohashi

double icons

p. 90

Sonia & Nathalie Rykiel

[Fr]

rykiel… six letters that sound like a slogan written in rhinestones. A love story that began forty years ago during a far-from-ordinary springtime : a philosophy of ‘timeless’ activism for the ‘right for women to be happy’. Writer, designer, actress, gourmet, sonia, the mother, has inspired fashion with impertinence ; today, her daughter Nathalie, opens the entire house of rykiel universe. Cd

www.soniarykiel.fr

[UK]

Asif Khan Ltd. is a design oﬃce based in London since 2008 that aims to combine the disciplines of architecture, products, interiors, and furniture in unexpected ways. Clients range from Magis, idée, danese to sawaya & Moroni. Laureates of W hotel designers of the Future, the New york Times featured Asif in their top five London designers to watch for in 2011. LC

www.asif-khan.com

esign os The masters who make history, the icons who see twice as much, new emerging duos, established ‘couples’ and entrepreneurs who pair up and feed the conversation and dialogue on contemporary lifestyles and attitudes. Get inspired by these talented duos ! the poets tandems

the established partners

p. 98

[NL]

p. 93

The son of gijs Bakker, co-founder of dutch design collective droog, Aldo Bakker is dutch design royalty. But Aldo isn’t interested in that. ‘it has nothing to do with my work’, he said. his partnership with Brecht duijf, his wife and also a designer, is more relevant. Last year she designed a solo exhibition dedicated to Aldo in south-eastern France. ‘We always ask each other’s opinion,’ he says. gdu

Bruno Fattorini & Partners – Bruno Fattorini & Robin Rizzini [iT]

After MdF italia, Bruno Fattorini After embarked embarked on a new adventure. With robin robin at his side, they have total control control over the patented industrial process. process. Their ‘25’ table for desalto is is the longest table ever to be produced. produced. A feat of engineering : 3,5 3,5 m long, made of composite materials materials (aluminium, resin, carbon, PU, PU, steel and cellulose). LC

www.aldobakker.com

www.brunofattoriniandpartners.com www.brunofattoriniandpartners.com www.desalto.it w ww.desalto.it

creative & business

p. 101

Nino & Julian Cerruti

[iT]

Julian, Nino’s son, is involved in the company business, focusing on the marketing, communication and events. When Cerruti Baleri created edizioni in 2010, it became the natural showcase for the sensitive work of Maurizio galante and Maison Martin Margiela. LC

www.cerrutibaleri.com

80-81 tl.mag #11 Design Duos

Drogg – Aldo Bakker & Brecht Duijf

masters

_____________

William Morris & Jane Burden

Christo & Jeanne-Claude

[UK]

[Fr]

Jane Burden was the poorly educated daughter of an impoverished stablehand whose striking and unusual looks led her to become a model and muse to many english artists, including William Morris, the textile designer, artist, writer and leader of the Arts & Crafts movement. They married in 1859 and she recreated herself, learning foreign languages, becoming a proficient piano player and weaver. GDu

Since their first collaboration in 1961, the couple have erected temporary monumental works in various environments many of which were conceived long ago, each one of them hotly debated and always visible from the ground. Jeanne-Claude left us in 2009 but their last project together (over the river, Colorado) will see the light of day in 2014. Cd

_____________

Robin & Lucienne Day

www.christojeanneclaude.net www.overtheriverinfo.com

Achille & Pier Giacomo Castiglioni

[UK]

The late British husband and wife duo robin and Lucienne day did not design together - she designed textiles and he created furniture – but they were both seen as pioneers of a new modern design idiom. robin was known for his functional pieces that used new materials and Lucienne for her bold geometric patterns and use of colour. Their 68-year marriage only ended when Lucienne died in 2010. gdu

[iT]

Brothers Achille and Pier giacomo Castiglioni worked together from the late 40s until Pier giacomo’s death in the late 60s and created many 20th century design icons. They playfully explored new forms and were inspired by humble objects. Their elegant best-selling Arco lamp for Flos for example, was inspired by a street lamp and combines the qualities of a ﬂoor and a ceiling lamp. GDu

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Ettore Sottsass & Shiro Kuramata [iT/JP] Bound together by a strong friendship ever since the beginning of the Memphis project, these two designers are now universally recognised. in ‘how high The Moon’ Kuramata has succeeded in creating an icon, just as sottsass did with his ‘Valentine’ for olivetti. An exhibition celebrating their work is on at issey Miyake’s 21_21 design sight in Tokyo and runs until 18 July. LC

www.2121designsight.jp

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Afra Bianchin & Tobia Scarpa

[iT]

The work of italian architects Afra Bianchin and Tobia scarpa was inﬂuenced by Carlo Scarpa, particularly the interest for technical solutions, the use of rich materials and a fine and proper aesthetic in their architecture and design of furniture, glassworks and lighting. MB ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Aldo & Marirosa Ballo

[iT]

The Vitra design Museum and Zoom exhibition celebrate their passion for photography. This legendary couple managed to capture the originality of brands and iconic masters of italian design. Their gaze passing through the lens combines an artistic advertising message in the static image and framing of the object, telling the story of ‘beautiful design’ and ‘anti-design’. LC

www.design-museum.de

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Aino & Alvar Aalto

[Fi]

The forms reflect the soul of a couple united by a common vision and emotion faced with modernity. Following an influx of orders, Aino and Alvar Aalto founded Artek in 1935, which remains one of the jewels of Finnish design to this day. The curved flowing lines, e.g. the savoy (1936 – ed. iittala), led them to explore the merits of glued bent plywood and blown glass. LC

www.artek.ﬁ, www.iittala.com

_____________

Anni Fleischmann & Josef Albers [de/Us]

Man Ray & Lee Miller

They met at the Bauhaus. Albers was a painter, writer, colour theorist and furniture designer who taught at the Black Mountain College (Asheville) until 1957. They shared a clear artistic view on design and supported a form of modernism that takes into account the preconditions of industrial production, without really breaking with tradition. MB

www.albersfoundation.org

_____________

[Us]

Lee Miller is often called Man ray’s muse, but she was a talented photographer in her own right and their volatile love affair in Paris in the early 30s was central to both their careers. Together they rediscovered and developed the photographic technique of solarisation (brieﬂy exposing a partially developed photograph to light, before continuing processing). gdu

Ettore Sottsass & Barbara Radice ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Pierre Bergé & Yves Saint Laurent

[Fr]

‘saint-Laurent came face to face with glory and Bergé on the same day’. An anecdote from Pierre Bergé himself who recounts his meeting with the couturier in 1957, when the latter took up the reins at dior. since then, the couple formed a duo that has shaken up the world of fashion and that of art with their support for some of the greatest creative minds of the period. sM

www.fondation-pb-ysl.net

[iT]

All his life, Austrian-born architect and designer ettore sottsass (19172007) insisted on moving forward rather than reliving past glories. Quitting Memphis at the height of its fame was the only logical action. ‘Acclaimed as a symbol and persecuted like a rock star, far from feeling satisfaction or pleasure, he sank into one of the worst crises of his life,’ wrote his muse Barbara radice. MB

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Hermès Rena & Jean-Louis Dumas

[Fr]

1964, Jean-Louis dumas joins Hermès. A strategist, he diversifies the business strengthening the group’s international network. his wife, rena dumas, created her architectural practise rdAi in 1972, was responsible for designing and fitting out 300 boutiques with her luminous and intimate signature style interiors. hermès Maison continues to radiate its aura throughout the ‘Pippa’ furniture collection. FK

_____________

Piero & Barnaba Fornasetti

[iT]

Milanese painter, sculptor, set designer and engraver, Piero Fornasetti made over 11,000 items in his lifetime, including many variations of the inscrutable gaze of 19th century italian soprano Lina Cavalieri (he created over 500 lithographs of her face). Following his death in 1988, Piero’s son Barnaba took over the reins of the company and has revived his father’s iconic motifs as well as designing his own. gdu

www.fornasetti.com

82-83 tl.mag #11 Design Duos

_____________

the new twins ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Emmanuel Wolfs & BoYoung Jung

[Be/CN]

This talented couple are based in Peking. Their ‘Land Project’ that kicked off in Milan, in April, was preceded by the Prism and Nature V2.01 collections that were shown at the Amman design gallery in Cologne. For Nature V2.01, tree trunks went through a lengthy process before being turned into chairs, marrying the force of nature and the culture of traceability. LC

www.wolfsandjung.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

USIN-e Rémi Bouhaniche & Amaury Poudray

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

[Fr]

Both a metaphor and a brand, UsiN-e symbolises their freedom of creation, and is a celebration of their differences. Pieces made using cane, metal, wood, and natural and synthetic fibres are the result of collaborations with craftsmen, businesses and galleries, including The gallery in Brussels. LC

www.usin-e.fr www.thegallerybruxelles.com

Vij5 – Arjan van Raadshooven & Anieke Branderhorst

[NL]

Created in 2006 by Arjan and Anieke, the Vij5 design label commission and produce intelligent and practical objects : magnetic wallpaper, FlexVase, a vase that adjusts to its contents, or even ‘NewspaperWood’, wooden boards made from upcycled paper that resemble the aesthetic of real wood grain. FK

www.vij5.nl

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Bcxsy – Boaz Cohen & Sayaka Yamamoto

[NL]

This couple formed in 2006 to share their professional and personal love of nature and rustic crafts. in Milan they presented their ‘Balance’ project, a traditional Bedouin woollen rug woven in Lakiya, israel. New decorative elements and colours introduced a modern context to this ancient craft. FK

www.bcxsy.com

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Atelier Polyhedre Baptiste Ymonet & Vincent Jousseaume

Formstelle Jörg Kürschner & Claudia Kleine [Fr]

Polyhedre is a creative French ceramics studio based in Nantes, specialising in developing offbeat tableware and objects of curiosity. ‘The design of the collection ‘glissements de terrains’ imposed quite a few constraints upon us.’ The challenge was met with a limited, formal and playful alphabet. LC

www.polyhedre.com

[de]

Passionate about both interior and product design, Kürschner and Kleine embrace the disciplines of architecture and object in their work together at Formstelle. The sculptural form of their Morph chair series, manufactured by Zeitraum, has grown to include bar stools and a children’s version that will both become part of a bigger ‘tribe’. gd

www.formstelle.de

studio Juju

Timo Wong and Priscilla Lui drew the crowds at the Salone Satellite in Milan and at Art Basel / Design Miami, thanks to the nomination they received from the W Hotel to support the emergence of promising talent. Marie Farman asked them a few pertinent questions. _____________

— tl.mag : How did you meet and why did you decide to work together? s t u d i o J u J u : We met at the Design Incubation Centre at the National University of Singapore. We worked together on several projects and we just wanted to carry on collaborating because our strengths are complimentary. — tl.mag : Can you tell me more about the pieces you presented at the Salone Satellite in Milan last April? s . J . : We wanted to create small everyday objects and objects that explore the tactile quality of materials (Wobble and Mushrooms). We also created storage units for living spaces that are constructed in a similar way to boats (Drums series). — tl.mag : What are you going to show at Art Basel/ Design Miami? And what does this nomination for the W Hotels Designers of the Future Awards mean to you? s . J . : For Art Basel/Design Miami, we worked on a structure which defines an interior space. A space

where the people would not be forced to come together… we’ll see. This nomination is a humbling experience, but it’s also very encouraging. — tl.mag : You come from Singapore where design has been booming in recent years. How do you explain this phenomenon? s . J . : Design studies have only been popular in Malaysia for the last ten years. Before then designers used to go abroad, it wasn’t an easy decision to make. In recent years, the government has started promoting design, and the designers who left are now starting to come back, bringing with them diverse and varied influences. Singapore is a multicultural city, so today the creatives are a melting pot of different cultures and personalities. — tl.mag : What do you think the future holds for you? s . J . : At the moment, we live for the present. We don’t know where this adventure will lead to yet.

84-85 tl.mag #11 Design Duos

iNTerVieW By MArie FArMAN

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Dan Yeffet & Lucie Koldova

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

D&A Lab Dirk Meylaerts & Isolde Pringiers

[is/CZ]

They both met in Arik Levy’s design studio. sharing the same vision and creative philosophy, they decided to run a ‘test’ to see how other people would react to their work, and chose ‘designblok’ in Prague as a first platform for exposing their furniture pieces : ‘Connection phase-01’. stretching from classic craftsmanship to cutting- edge processes, their design work is both rich and distilled. LC

[Be]

d&A Lab designed by Artists was launched in 2006. getting artists to work on pieces of design is what makes the company stand apart. With ‘Mari Thirteen’ assembled from ‘Thirteen’ pieces of wood, Jonathan Monk is inspired by ‘Autoprogettazione’ enzo Mari, 1974 (reissued by Artek) and its evolutionary projects. LC

www.dna-lab.net

www.danyeffet.com www.luciekoldova.com ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Daphna Laurens Daphna Isaacs & Laurens Manders

[NL]

graduates of the design Academy eindhoven, isaacs and Manders, attribute their success to the ‘ability to discuss and be critical concerning each others ideas.’ Their initial interest in spatial design has moved into the sphere of ‘object’ design with the crafted elegance of the porcelain and wood Tafelstukken series garnering headlines. gd

www.daphnalaurens.nl

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

HansandFranz Konstantin Landuris & Horst Wittmann [de] students of the Academy of Fine Arts in Munich, Landuris and Wittmann, liken their cooperation to that of a band with the drummer and base guitar both being essential in the creative process. ‘our work is driven by conceptual ideas,’ they explain, ‘with the aim to find new solutions through different approaches apart from the formal aesthetic.’ gd

www.hansandfranz.com

_____________

Commuun – Iku Furudate & Kaito Hori

[JP]

This Japanese duo, based in France, chose a name that refers to their creative partnership : the community, communication, sharing… one enjoys draping with fabric while the other prefers a tailored approach. Their two worlds come together to create silhouettes that are both ﬂuid and controlled, inspired by nature and its abstract variations. FK

www.commuun.com ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Sauerbruch Hutton – Louisa Hutton & Matthias Sauerbruch

[de]

Trust and a shared sense of humour help this english-german duo, who met at the Architectural Association in London in 1982 and married a decade later, get through their workload. A common interest in visual arts led to the creation of ideal gallery spaces in the Museum Brandhorst, Munich, which also features a striking façade typical of their work. gd

www.sauerbruchhutton.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Mischer’Traxler – Katharina Mischer & Thomas Traxler

[AT]

[iT]

These italian designers based in eindhoven studied at the Academy, where they graduated with a thesis on traditional sicilian Folk Art. The role of Folk Art in design is a way for them to express the necessity to merge craft and industry with a clear relationship to the uses. Their ceramic work, made in Caltagirone, can be seen at the Libby sellers gallery. LC

www.formafantasma.com

From the eindhoven design Academy, Katharina Mischer and Thomas Traxler founded their studio in 2009 in Vienna. They are nominated this year for W hotel designers of the Future Awards at Art Basel/Miami. With an experimental and conceptual approach, as shown by their Rélumine lights or the Till you stop cake decoration, they present a fresh look on our habits and our relationship to objects. MF

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

A+A Cooren Aki & Arnaud Cooren

[JP/Fr]

This French-Japanese couple (both professional and personal) met at the ‘ecole Camondo’ and have since garnered praise for projects such as the Shiseido ﬂagship store in Paris and the clever ‘Loop-o’ lamp. Characterized by an unmistakable love for Japanese aesthetics and natural forms, their designs explore the line between craftsmanship and industrial production. As

www.mischertraxler.com

www.aplusacooren.com

_____________

Neri&Hu Lyndon Neri & Rossana Hu

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Fredrikson Stallard – Patrik Fredrikson & Ian Stallard [UK] since they began their collaboration in 1995, they’ve become recognised as part of the avant-garde design community in great Britain. in June 2011, in Basel, they unveiled new pieces for david gill galleries and created the solo exhibition for swarovski Crystal Palace. LC

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭͔

Isabel Van Haute & Thomas Coldefy

[Fr]

isabel Van haute and Thomas Coldefy were both born in 1978, in Antwerp and Paris respectively. globe-trotting architects in spirit they worked for some of the biggest names in the business (Tadao Ando in Paris, KPF, richard Meier in Ny), designed the hK design institute which instantly put them on the world map and won the competition to design the international Conference Centre in Burkina Faso. MLF

www.coldefy-associes.com

[CN]

Both are Founding Partners of design Republic, a select store that offers Chinese customers access to a selection of international design products. The duo also run Neri&hu Design and Research Oﬃce, a multidisciplinary architectural design practice in shanghai that works with various brands in europe including Moooi, Bd Barcelona design and Meritalia and develop their own brand ‘neri&hu’. FCg

www.thedesignrepublic.com, www. neriandhu.com, www.nhdro.com

86-87 tl.mag #11 Design Duos

Formafantasma – Andrea Trimarchi & Simone Farresin

iNTerVieW By MArie FArMAN

Raw Edges

Yael Mer & Shay Alkalay are two of today’s rising stars. Their relationship with living matter is immediate and beckon new creative experiences. Marie Farman questions them about their creative journey between art and design.

_____________

— tl.mag : How did you get together? Ya e l M e r & s H aY a l K a l aY : We met in 1998 during our studies at the Bezalel Academy in Jerusalem. We starting going out together during the second year… A year after our graduation, we applied to the Royal College of Art in London and fortunately we were both accepted in the Design Products Department headed by Ron Arad. In 2007, we were invited to work on a project in China for four months. The experience was so convincing that we decided to create our own studio when we got back to London. — tl.mag : You also work for large design companies like Cappellini as well as for galleries like FAT in Paris. Is your work different? Y . M . & s . a . : The basis of our work is to find new principles. That can mean a new mechanism, a new structure or a surprising mix of materials. This research is at the heart of our approach. We’re very hands-on and always build the first prototype ourselves. That’s how ideas come, and its also our way of exchanging views with the manufacturers. For example, we sent a stool that we had

exhibited at the FAT galerie to Giulio Cappellini so that he could understand our project. But there are cases where experimental pieces can lose their novelty value when they’re produced in a series. — tl.mag : What are your sources of inspiration? Y . M . & s . a . : We have many ! It could be a piece of fabric or an animated film but also the street or the habits of those around us. We’re surrounded by very inspiring people, especially in London, which is a city where there are so many fascinating things happening around you its almost unbearable ! — tl.mag : What are your future projects? Y . M . & s . a . : We’re working on some products with some design manufacturers but also on experimental pieces with fabric. Last year, we did an installation at the headquarters of Bloomberg in London with 60 old computer monitors. It’s currently only visible to the group’s employees, but we hope that it will soon be on show to the public. — tl.mag : What else would you have done for a living? Y . M . & s . a . : We wouldn’t know what else to do.

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Committee-Gallop Workshop Harry Richardson & Clare Page

NOCC – Juan Pablo Naranjo & Jean-Christophe Orthlieb [UK]

This duo compile crafts and design, working together as Committee, which they founded in 2001 after graduating from Liverpool Art school. They create lamps, rugs, furniture, textiles and wallpaper with a surreal-Brit touch. They also lead artistic projects such as Plastic relics and an archeo-prospective interpretation of our waste via their atelier-gallery, gallop Workshop, open to contemporary artists. Cd

[Fr]

Guided by a conceptual vision and a common scientific spirit, Juan Pablo Naranjo and Jean-Christophe orthlieb created NoCC in 2008. NoCC uses humour to convene archetypal or poetic industry codes, questioning the utility of the objects. Cd

www.nocc.fr

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Spijkers en Spijkers Truus & Riet Spijkers

The AW11-12 collection of sis by spijkers en spijkers, the fashion brand belonging to dutch sisters Truus and riet spijkers, has been inspired by the ‘Fast Ladies’ of the 1920’s who were the first women to enter the world of racing and aviation. Just like these ‘Fast Ladies’, Spijkers en Spijkers find it important that women feel free to chase after their dreams ! JV

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Innovo design Zhang Lei & Jovana Bogdanovic

[CN]

They met at the salone satellite in 2009. Zhang Lei has a Master in Car design, after graduating from the domus Academy, Jovana worked with studio Urquiola. Now based in hangzhou, Zhang Lei and Jovanna founded iNNoVo design studio in 2010. As a couple they enjoy working on experimental projects promoting local craftsmen. in Milan, they presented their Chinese paper project ‘Future Tradition’. FCg

www.innovo-design.com

[NL]

www.spijkersenspijkers.nl ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Lhoas & Lhoas Pierre & Pablo Lhoas

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ [Be]

Brothers Pierre and Pablo Lhoas work out of their Brussels studio on architectural, interior design, scenographic and product design projects with a mix of complimentary agreement and dissent. Their xyZ shelves by KaZaar are a reﬂection of such dichotomy being ‘at the same time simple yet sophisticated in the way they are designed’ explains Pierre. gd

www.lhoas-lhoas.com

Les M. Studio Céline Merhand & Anaïs Morel [Fr] Working under the brand M, their work recently caused a buzz at ViA and the Biennale of st-etienne. Nominated for the grand Prix de la Création de la Ville de Paris in 2010, their work, which includes the Cocon armchair, is now being produced by super-ette (LU). interaction and imagination are also on the cards with their new halo mirrors. LC

www.lesm-designstudio.com

88-89 tl.mag #11 Design Duos

www.gallop.co.uk

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

The Bouroullecs Erwan & Ronan Bouroullec

double icons ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Studio Job Job Smeets & Nynke Tynagel

[Fr]

The Bouroullecs need no introduction, their work has been exhibited on the international design scene for over ten years. Authors of bestsellers for the leading furniture producers, they also are involved in research projects with the galerie Kreo in Paris. Their names are permanently inscribed in our design history. The Centre Pompidou (Metz) will show a retrospective of their work from 7 october 2011. MF

www.bouroullec.com

[Be/NL]

The highly publicised, Antwerp-based duo Job smeets and Nynke Tynagel’ develop surreal imagery inspired in part by the Bible. Their exaggerated and fantastical creations are present in every manifestation of design worldwide and in many large collections. soon visible at Marta herford (germany) and at the groninger Museum (the Netherlands), they are represented by the Carpenters Workshop gallery. MF

www.studiojob.be, www.marta-herford.de, www.groningermuseum.nl, www.cwdesign.com

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Sanaa Kazuyo Sejima & Ryue Nishizawa

[JP]

When evocating the work of these Japanese architects, we think of pure but sophisticated lines and a complete mastery of construction elements that are privileged over form. sanaa is, somehow, the Muji of architecture, but with more audacity ! The recent rolex Learning Center in Lausanne is so successful that Wim Wenders is preparing a 3D film on the building. Can’t wait to see the Louvre in Lens. MF

www.sanaa.co.jp, www.rolexlearningcenter.ch

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Alessandro & Francesco Mendini ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Issey Miyake & Tokuyin Yoshioka

[JP]

in their 20 years of collaboration they’ve never stopped exploring new materials. in 2011, as a ‘baptism’, Miyake entrusted yoshioka with the design of his 10th watch ‘o’/ shape of Water. starting out as Miyake’s assistant, creating the window displays for his boutiques in Japan, yoshioka created, among others, the scenography for the following exhibitions : Twist, Arizona, i.M. Making Things. LC

www.isseymiyake.com, www.tokujin.com

[iT]

on the occasion of the 2011 salone del Mobile, glass mosaic brand Bisazza paid homage to more than twenty years of successful collaboration with the Mendini brothers. in addition to a selection from the existing body of work, a new equestrian statue named ‘il Cavaliere di dürer’ (The Knight of dürer) was revealed, designed by Alessandro and assisted by his brother. JV

www.ateliermendini.it, www.bisazza.it

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Christian Salez & Veronique Branquinho

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ [Be]

The world’s oldest luxury leather goods manufacturer, delvaux, has been reinvigorated by the merging of the business skills of Ceo Christian salez and the creativity of fashion designer Veronique Branquinho. sharing a common vision of economic practicalities with the classic elegance of the haute couture house led to creations such as the Trompe L’oeil bag. gd

www.delvaux.com

Arik Lévy & Zoé Ouvrier

[is/Fr]

A couple absorbed in art, Arik and Zoé sensitively transpose paper, paintings and sculpture into a decor that appeals to their ideals. Zoé’s organic canvases are like living trees. her ‘hug’ de 27’ video produced by Arik is a riveting testimony. The magnetic energy that it engenders makes us feel this attractive force between two bodies. LC

90-91 tl.mag #11 Design Duos

www.zoeouvrier.com www.ariklevy.fr

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Herzog & de Meuron Jacques Herzog & Pierre de Meuron [Ch] ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

The Campana brothers – Humberto & Fernando Campana

[Br]

With their complementary and different personalities, humberto and Fernando have been responsible, over the last 20 years, for introducing a new aesthetic twist to recycling and craft materials that are typical to Brazil. After the recent creations on show in Milan (with Bernardaud, edra, Klein Karoo and Venini) they revisit ‘Brazilian baroque’ with the exhibition Privato Romano at the galerie o, rome. sM

www.campanas.com.br, www.galleriao.net

Awarded the prestigious Pritzker Prize for Architecture in 2011, Jacques herzog and Pierre de Meuron have become known worldwide ever since their project for the Tate Modern in London. After having imagined the incredible Vitrahaus – resembling a random stack of Monopoly houses – in 2010, later on this year they will lead the project for the extension and renovation of the Unterlinden Museum in Colmar. MLF ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Galerie Kreo Clémence & Didier Krzentowski

[Fr]

They patiently built up their ideal collection over the last ten years producing around fifty limited edition pieces a year, in 12 examples, designed by luminaries of the design world. endless talks with Charpin, Fukasawa, Konstantin grcic or Martin szekely rhythm the catalogue for raisonné. The monographic exhibition of Charpin ‘ignotus Nomen’ will be shown in Paris at galerie Kreo in september. Cd

www.galeriekreo.com

With two distinct cultural and creative backgrounds, a chance meeting between Patrick Jouin and Sanjit Manku has delivered today a successful partnership of shared sensibilities in the business of designing space. [Fr/CA]

_____________

rePorT By gUy diTTriCh

Patrick Jouin & Sanjit Manku ‘We draw together a lot. It’s ping pong on paper’, describes Sanjit Manku of the informal nature of his working relationship with Patrick Jouin at their Parisbased studio, Jouin Manku. The studio focuses on the design and art direction of space be that in scenographic, residential, retail or hospitality environments. Having ‘cooked the big lines’, or ideas, of a project there follows a back and forth of conversation and drawings that brings out the best of the architectural skills of Manku and Jouin’s product, or ‘object’, design background. ‘A collage of shared artistic, musical and literary references has developed into a shorthand, that helps us discuss our work,’ he continues, ‘An aspect of a project might be described as having a ‘sort of Dan Flavin / Skinny Puppy thing’ that we will both immediately understand.’ A sense of this mutual ambition, curiosity and sensitivity flavours their work. Manku, born in Nairobi of Indian parents, was returning via Paris to the city of his youth, Toronto, in 2006 when he met Jouin, already well recognised following his

work on the bar and restaurant at the Plaza Athénée. A misunderstanding, the result of an ‘accident of bad English and bad French’, led to Manku pitching his work to Jouin.The outcome is a collaboration that has fostered risk-taking, as one became the foil for the other’s work. In their different ways, the Van Cleef & Arpels store in Place Vendôme, Paris and the Gilt Bar in the New York Palace Hotel, Midtown Manhattan reflect the duality of the duo’s relationship. Their different understanding of two such distinct cultures brings fresh eyes to the spaces. The hand-carved fairies in the wood panelling and stucco plaster, ‘dripping’ from the ceiling, are novel expressions of the iconic materials of Paris at the Van Cleef & Arpels project. The surprising scale of a former music hall, now the Gilt Bar, was tectonically transformed by a faceted ‘ice berg’ and micro-architectural forms that provide comfort and warmth in a fresh vision for Manhattan’s cocktail scene.

www.jouinmanku.com

the established partners

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Studio Hoet – Patrick & Bieke Hoet

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Saskia & Stefan Diez

[Be]

streamlined like a car, drawn as if with eyeliner, the Cabrio sunglasses collection differentiates itself by using new materials and techniques, unconventionally styled. Cabrio is a result of the creative collaboration between father and daughter Patrick and Bieke hoet who, besides developing the creative identity of iconic eyewear brand theo, also specialize in interior and furniture design. JV

[de]

This husband & wife team have separate ateliers in a leafy Munich neighbourhood concentrating on jewellery & accessories design (saskia) & industrial design (stefan). Nevertheless they see each other as important reference points and critics of each other. The Papier series of travel bags that revises typical materials used for luggage is a new collaboration from the pair. gd

www.hoet.eu

www.saskia-diez.com www.stefan-diez.com

They’ve been collaborating for more than 10 years after graduating from the domus Academy. They’ve developed an artistic signature free from main stylistic inﬂuences. Their creations take into account the context inspired by an anthropological approach, ‘from Local to global Vernacularity’, studying the rituals and local practises to develop creative projects that are as ‘domestic’ as possible. LC

www.betcdesign.fr ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Edward Barber & Jay Osgerby [UK] Born in 1969, they studied Architecture together at the royal College of Art (London), working together ever since (1996) mixing industrial design, furniture design and architecture. They have produced works for a variety of known brands (i.e. Vitra, Venini, Coca Cola). After having won a commission to design the olympic Torch for the London 2012 olympic games they unveiled their prototype in June. MB

www.barberosgerby.com

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Alchimie Studio Audrey Lavielle & Alexandre Anzo [Fr] 10 years of expertise in fashion, hospitality and gastronomy. Their secret ? good quality ingredients, skill and generosity, but no recipe ! Projects are simmering along with simplicity and without complication. on the menu, the development of the Lacoste ﬂagship concept in 5th avenue Ny, a palace on Cannes, a series of new international brand development projects for hair salons or beauty clients. Cd

www.alchimiestudio.fr

92-93 tl.mag #11 Design Duos

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

BETC Design/Christophe & Seb Christophe Pradère & Sébastien Leridon [Fr]

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Hariri & Hariri Gisue & Mojgan Hariri

[iran/Us]

since childhood, the two iranian-born sisters have always shared everything. including their love of architecture expressed through the Aqua urban complex in south Beach Miami, or a private residence in sagaponac, or even the future south street Tower in New york. sometimes they are asked who is the man : they reply that their vision is twofold but not twinned. MLF

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

www.haririandhariri.com

Pearson Lloyd Luke Pearson & Tom Lloyd [UK] ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

moatti & rivière – Alain Moatti & Henri Rivière

[Fr]

‘Bringing the imaginary to life in the real world’ is one of the mottos of Parisian agency Moatti & rivière. And the poetry is almost palpable in projects like the collaboration with Baccarat or la Cité de la dentelle de Calais and its impressive undulating facade. When henri rivière passed away in 2010, Alain Moatti decided to continue in the same spirit that marked their decade of work together. sM

London-based design consultants Luke Pearson and Tom Lloyd have been making headlines with their awardwinning oﬃce furniture for Bene and cutting-edge airline interiors for Virgin Atlantic and Lufthansa. highly susceptible to socio-economic trends and technological innovations they aim to push outstanding design ahead in the public forum. As

www.pearsonlloyd.com

www.moatti-riviere.com ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Reardon Smith Patrick Reardon & Conrad Smith

Two decades of success in the business of luxury hotel design makes the partnership of Patrick reardon and Conrad smith the most experienced hotel practice in London. ‘Contrasting personal tastes, shared values and strong mutual respect shape our business,’ explains smith. The recent outstanding renovation of The savoy is a wonderful example of their work. gd

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Olivier & Hélène Lempereur

[Be/Fr]

Working between Paris, Brussels and Luxembourg, the rythm is what differentiates this married couple and makes them a model of complementarity. he is a gogetter, an interior designer and purist, while she is more thoughtful, concentrating on the colour palettes and materials. Among their recent creations, Pierre Hermé, Wittamer… a decidedly chocolate affair ! LC

www.olivierlempereur.com

[UK]

www.reardonsmith.com

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Gilles & Boissier Patrick Gilles & Dorothée Boissier [Fr] They reinterpreted the chic mountain look for Moncler boutiques around the world, but it’s with their restaurants that the duo leave their mark. This couple do a good job of mixing the inﬂuences of their origins (he was at Liaigre, she at starck), are credited for Le Mini Palais, at the grand Palais in Paris, but also for hakkasan in dubai and New york. Timeless classicism guaranteed. sM

www.gillesetboissier.com

Nipa Doshi & Jonathan Levien Nipa Doshi and Jonathan Levien met at London’s Royal College of Art in 1995 where they shared a studio table. ‘Working together formed an incredible bond between us’, says Levien. In 2000 they married and set up their own practice. From the beginning they have been each other’s most honest critics. Levien tells us more about the way they work together.

_____________

— tl.mag : What sort of chemistry do you have professionally-speaking? J o n at H a n l e V i e n : I think we both need what the other person has. We collaborate in a way that produces things that either one of us couldn’t do alone. I think what makes this possible is the fact we don’t have rigid and fixed ideas about what constitutes a good idea. We have very particular strengths but also a willingness to be contradicted. We love the hybrid, and that drives our work. — tl.mag : How do you work together on a project? J . l . : Our starting point is always a discussion to find the right direction and feeling. This process is usually followed by a series of experiments. We work on all projects very closely, but some are lead by Nipa and others by myself. We are experts in different fields. For example Nipa knows a lot about textiles, she has an amazing graphic sensibility, she has a way of pinpointing the right visual direction. I am geared towards functionality and knowing how to make things and what technology or process to use. This sounds like our

process is split cleanly between us, but that’s actually not the case, because after years of working together, the boundaries between our abilities and sensibilities are becoming more blurred. Some of my favourite moments are when Nipa does a spontaneous sketch in her Indian yellow notebook and the idea leaps off the pages with such energy that we have to make it happen. This is how Principessa for Moroso came about. Other projects are slower, more involved and complex, and at times frustrating when the technology doesn’t serve the idea ! This is when my tenacity and determination helps. This is the case for our Kali project with Authentics and Ananda for Glass Idromassagio. — tl.mag : How do your different cultural backgrounds mesh together? J . l . : We often talk about creating a new country, only because the combination of our respective cultures results in a hybrid that didn’t exist before.

www.doshilevien.com

94-95 tl.mag #11 Design Duos

iNTerVieW By gioVANNA dUNMALL

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Sismo Designers – Antoine Fenoglio & Frédéric Lecourt

Interware Maurizio Galante & Tal Lancman

[Fr]

Just like the sheep that serves as their logo, Antoine Fenoglio and Frédéric Lecourt, alias sismo, breathe fire and shake up the design codes to evolve the brand identity and the public perception of the brand, ‘never relinquishing [their] dreams, never standing in the way of each other’s freedom.’ Cd

[iT/is]

At interware, this trendsetting designer duo have found a common transversal approach ‘no seasons’ somewhere between fashion, design, architecture and art. Tal collaborates with Veronese, Baccarat, itochu, shiseido, whereas Maurizio parades his haute couture collections behind closed doors in Paris. Their objects of desire or conversation pieces never fail to grab your attention. LC

www.sismodesign.fr, sismo@sismodesigners.fr

www.maurizio-galante.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Jakob+MacFarlane Dominique Jakob & Brendan Mac Farlane

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Normal Studio – Jean-François Dingjian & Eloi Chafaï

Jean-François dingjian & eloi Chafaï alias Normal studio have been reinstating everyday forms through simple, elementary designs with pure and radical lines since 2006. honoured last year with an exhibition at the ‘Arts décoratifs’ in Paris, their collaborations with the maison Tolix or with the galerie ymer et Malta are testament to their affection for quality of use. MF

[Fr]

They’re responsible for the soft, green redevelopment of the ‘Cité de la Mode et du design’. They’re also responsible for the iconic ‘Cube Orange’ in the ‘Conﬂuences’ development area of Lyon. The new FrAC Centre (Fond régional d’Art Contemporain) will soon open in orléans : 3 vertical glass vortices ‘Turbulences’ will be wrapped in a metallic mesh, the interior will be covered in a textile mesh. MLF

www.jakobmacfarlane.com

[Fr]

www.normalstudio.fr

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

GamFratesi – Stine Gam & Enrico Fratesi

[dK/iT]

This italo-danish duo, based in Copenhagen, have already proven their ability since a solo exhibition at the Museum of Art and design in 2006 and numerous collaborations with furniture producers like Ligne roset and swedese. The permanent dialogue between italy and scandinavia comes across in the elegance of their design and purity of line. LC

www.gamfratesi.com

_____________

Marc & Chantal

[CN]

Actually, the duo was founded by 2 + 1 partners. Marc Brulhar, Marc Cansier and Chantal rechaussat have contributed over the last 15 years to the rise in inﬂuence of French luxury goods in Asia, and have successfully launched hotels and other commercial concepts. Based in hK and in Beijing, the trio have broadened their expertise to offer a 360° approach that unifies visual identity and interior design. FCg

www.marc-chantal.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ [de]

Both met while studying industrial design at the hochschule für gestaltung schwaebisch gmuend. since 1994, they have been designing furniture and lamps for prestigious italian companies such as Cassina, ycami, Nemo, but also for Thonet, Fritz hansen, Belux, etc. They’re also responsible for developing a worldwide master concept for the Mercedes-Benz showrooms. LC

www.jehs-laub.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

AstoriDePontiAssociati Antonia Astori & Nicola De Ponti

[iT]

Mother and son, they designed the Milano radiator, part of elements collection by Tubes. This totally multi-faceted interior design item was one of the pieces selected by Adi design index for its high technological innovation and design content. it never ceases to amaze. one of their last projects is their green Frame house for a sustainable architecture. LC

www.astorideponti.it

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Scholten & Baijings Stefan Scholten & Carole Baijings

[NL]

The dutch couple have invented a graphical vocabulary that they apply to carpets, bed linen, crockery and furniture. Their mastery of colour (a combination of pastels and ﬂuorescent colours) is celebrated in the Blush-Design in full Colour exhibition at the stedelijk museum ‘s-hertogenbosch til 28 August. For the occasion they made a wonderful video visible on their website and on our blog. MF

www.scholtenbaijings.com, www.sm-s.nl

96-97 tl.mag #11 Design Duos

Jehs + Laub Markus Jehs & Jürgen Laub

the poets tandems ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Ben Langlands & Nikki Bell

[UK]

This duo have been creating sculptures, architecture or digital works on contemporary and interactive issues since 1978. Their works are inspired by connections between space and humans, the ﬂow of communications, small or large-scale networks, whether anatomical or socio-political… FK

www.langlandsandbell.com

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

Laurence Brabant & Alain Villechange ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

The Boxy brothers Kritof & Stefan Boxy

[Be]

The twins are Belgium’s biggest star gourmet caterers. They’ve become an institution over the years for those who like special culinary sensations that stimulate the tastebuds and senses. They have a wonderful feeling for creating food & food arrangements, and also for design classics like Jules Wabbes. They are great design collectors, and work in the only building ever designed by Maarten Van severen. MB

[Fr]

When designer Laurence Brabant, and glassworker Alain Villechange combine their expertise, the couple create refined, utilitarian objects that brighten up our daily lives. Tableware, lamps, vases… with four hands. They perpetuate the tradition of glass in an extremely contemporary and poetic way. MF

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

www.boxys.be

_____________

Inez & Vinoodh Inez Van Lamsweerde & Vinoodh Matadin [NL] This duo met at the Fashion Academy in Amsterdam when Vinoodh asked inez to take his portrait. Today, 25 years later, the couple are known throughout the world for their critical and slightly disturbing fashion spreads. Key to their work is the digital manipulation of photographs at an early stage which allows them to explore topics such as gender and sexuality, reality and superficiality. JV

www.inezandvinoodh.com

Yohji Yamamoto & Masao Nihei

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Studio Pieter Stockmans Piet & Widukind Stockmans [Be] Not daddy nor father but ‘Piet’ is how she’s been calling him from the beginning. since 2010, Widukind stockmans and her father have joined forces in stockmansblauw, their ceramics studio located on the site of a former mine in genk, Be. The industrial building houses the stockmans’ workshop and gallery as well as a shop displaying the latest creations with details in the recognisable ‘stockmans blue’. JV

www.pietstockmans.com

[JP]

since the 1980s, yohji has brought Japanese minimalism to Western fashion, privileging cut and materials over colour. But how do you present a more-often-than-not monochrome silhouette ? Masao Nihei, scenographer and ‘lighting artist’ is the answer ; their long lasting collaboration makes it diﬃcult to imagine a fashion show or an exhibition without the participation of this magician in the shadows. sM

www.yohjiyamamoto.co.jp

_____________

iNTerVieW By MArie FArMAN

— tl.mag : How did Drift Design get off the ground? r a l P H n a u ta : Lonneke and I met on the first day of school and for several reasons we immediately hit it off. Six years later, we both graduated from the Design Academy in Eindhoven and after a long and intense friendship, we finally had to admit that we’d been in love for all these years. We started to work together after one year because our ideas and goals coincided. I taught Lonneke to appreciate different aspects of science fiction and she taught me to look more closely at nature. At the time we would reinvent the world for hours. Then we evolved and began to consider new methods of production. Today our collaboration is so close that we sometimes forget who did what. — tl.mag : Can you speak to me about your latest piece of work Fragile Future Concrete chandelier? r . n . : The Concrete chandelier is the first chandelier that we have created using the Fragile Future modular system. This one is the first in a series of chandeliers that we’re developing in collaboration with the Carpenters Workshop Gallery. This piece was awarded the Moët Hennessy Prize at the Pavilion of Art and Design London in 2010.

Drift Design

— tl.mag : Your approach is more poetic than commercial, is it a benefit or a hindrance in the current design climate? r . n . : For us it’s an advantage because we create what we like, we turn our aspirations into pieces of design that can be understood by the general public. It took time before people could imagine a piece like Fragile Future in their home, but fortunately times have changed. Today they’re willing to buy into an idea and a dream. — tl.mag : What are you working on at the moment? r . n . : We’re working on a number of new projects… We always start with an impossible idea, then try to find a solution. It usually takes several years to reach the final product. We’re going to show Flylight and Fragile Future at the Boijmans Van Beuningen Museum Rotterdam in October and at the Israel Museum Jerusalem, in December 2011. As for the Fragile Future Chandelier, it’ll be on the Carpenters Workshop Gallery stand at Art Basel/Design Miami. — tl.mag : Do you have a dream as designers? r . n . : Our dream is to make a great light sculpture for the Tate Modern Turbine hall London.

98-99 tl.mag #11 Design Duos

Marie Farman speaks with Ralph Nauta & Lonneke Gordijn who revolutionise design with their decidedly technological and poetic way of looking at things. tl.mag fell under the charm of this exceptional duo at PAD in Paris and Art Basel/Design Miami.

iNTerVieW By MArie FArMAN

Sofie Lachaert & Luc d’Hanis

This Belgian couple live and breathe design. Between their two galleries and guest house in Tielrode , their jewellery and silversmithing has opened up new possibilities. They recently garnered a lot of interest at Collect in London, in May. Marie Farman went to meet these pure and serene creators. [Be]

_____________

— tl.mag : Can you tell me about the duo that you form with Sofie Lachaert? l u c d ’ H a n i s : We’ve been working together for about twenty years. When we started we had a gallery but we were reluctant to show our own work, and then we just went for it. Sofie studied Silversmithing and Jewellery and I have a background in Fine Art. Today, our two worlds and inspiration have become one and this helps us create a collection of objects together. — tl.mag : Are four hands better than two? l . H . : In our case, yes. We have a common sensibility, we’re moving in the same direction, which means we don’t have to talk a lot, or defend our point of view, we understand each other very quickly. It’s a huge advantage creating together, the exchange is much more direct. — tl.mag : Can you tell me about the last piece you created together?

l.H.

: We presented a stool in Milan that I found in a former artist’s studio. It was covered in stains, which we in turn covered with precious stones. These stones are jewels, you can wear them as brooches, for example. So this old stool becomes a valuable object. Our basic thinking behind this focused on the profusion of objects that are on the market today. The question is : what are we going to do with all this scrap ? I just want to point out that this stool is not a work of art. You can sit on it, touch it, use it. Today the boundaries of art and design, and different societies and cultures are blurred. — tl.mag : What are your future projects together? l . H . : There’s a piece at FR 66 that we’ll be presenting at Designers’ Days in Paris. We’re also busy creating furniture for a restaurant at the moment. In November, we’ll be exhibiting these new creations at our gallery in Tielrode.

creative & business

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Colette – Colette & Sarah Lerfel

[Fr]

Like mother, like daughter. At least in the case of the Lerfels, beacause for Colette and her daughter, talent and instinct have always kept them one step ahead. For the last 10 years, The Parisian concept store has been the talk of the international press : in constant metamorphosis, their products are in tune with the times whilst giving us a glimpse of what tomorrow will bring. MLF

www.colette.fr _____________ [iT]

ever since italian lighting design house Flos was founded (1962) it has equalled innovation, craftsmanship, championing emerging talent. its first lamps, by Achille + Pier Giacomo Castiglioni and Tobia scarpa, have become industrial design classics. sergio joined the company in 1964 and soon became chairman. his son, Piero, joined the company in the 80s and took over as president and Ceo in 1999. gdu

̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭ ̭

www.ﬂos.com

B&B Italia Giorgio & Emanuele Busnelli

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

Cerruti Baleri Nino Cerruti & Enrico Baleri

_____________

Mitterand + Cramer, Edward Mitterand & Stéphanie Cramer [Ch] edward and stéphanie opened their gallery in 2001 in the ‘Quartier des Bains’ in geneva. since then, they’ve been present at all of the trade fairs, e.g design Miami/Basel, as well as producing limited edition design pieces (since 2008) with designers like Arik Levy, Atelier oi, Maarten Baas, Tom dixon, studio Job and studio Makkink & Bey. LC

www.mitterrand-cramer.com

[iT]

in 1984, enrico Baleri founded Baleri italia, that produces work by Mendini, Mangiarotti, santachiara, starck… When Nino Cerruti became a majority shareholder in 2004, the designs embraced fashion and the textile industry. since 2005, the company has taken on a new lease of life courtesy of Jeff Miller, Arik Lévy, Ilse Crawford, Alberto Colzani and xavier Lust. LC

once again the majority shareholders of B&B Italia (°1966), the Busnelli brothers regain total control of their business which employs nearly 500 people. A leading player in contemporary furniture, in 2011 they bought back their shares from the opera fund. Among the latest designs, are pieces by Antonio Citterio, Patricia Urquiola, Jeffrey Bernett, Vincent Van duysen… LC

www.bebitalia.it

www.cerrutibaleri.com

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Nelly Rodi – Vincent Grégoire & Pierre-François Le Loüët

[iT]

[Fr]

This style bureau is home to one of the more effective creative and strategic tandems : Their complementary expertise in various sectors reﬂects in the agency’s achievements : ‘We form a “couplicité” : Pierre-François embodies precision, and i excitement, but we share the same taste for contemporary art and Brittany”, stresses Vincent grégoire. FK

www.nellyrodi.com

100-101 tl.mag #11 Design Duos

Flos – Sergio & Piero Gandini

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

R’Pure Paris-New York – Odile & Laurent Hainaut

[Fr]

r’Pure was established in 2007 as a cultural and creative bridge between Paris and New york with a clear vision of design : ‘a precious equilibrium between the rational and emotional’ which allows them to collaborate with François Azambourg or Jean-Marc gady, but also with the new generation of American designers like dror Benshetrit, Brad Ascalon, Todd Bracher or Marc Thorpe. MLF

www.galleryrpure.com

͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕ ͕

Silvera – Paul & Fabienne Silvera

[Fr]

originally hailing from Marseille, Paul and his sister Fabienne have made a name for themselves in Paris. Kléber, Bastille, Université, Wagram… Following in their father’s footsteps, they’ve conquered one Parisian interior after another. Far from resting on their laurels, their work continues to express a new approach to furniture. More personalised and eclectic, reﬂecting their passion… LC

www.silvera.fr

͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔ ͔

_____________

LVMH – Bernard & Antoine Arnault

Missoni – Margherita & Teresa Missoni [iT]

[Fr]

Arguably the most powerful men in luxury design are the father and son at the helm of corporate behemoth LVMh. With the right amount of business savvy and fashion sense they have perfected the art of selling a lifestyle. The latest edition to the group – following a multibillion takeover – is Bulgari. They will join the illustrious company of gucci, Louis Vuitton and dom Pérignon. As

New blood in the italian house, sisters Margherita, 28-years-old and Teresa, 23, are much more than tabloid celebrity muses. The eldest has recently been appointed artistic director for accessories and the Missoni Mare line. As for the younger, an art student, she is already involved in the image of the family brand. FK

www.missoni.com

www.lvmh.com ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬

Bolon – Marie & Annica Eklund

̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ ̬ [se]

‘it is not the large that eat the small, but rather the fast that eat the slow’, state Bolon design Manager Marie eklund and sister Annika, who have been running the swedish family business since 2003. They’ve made Bolon a designdriven company strongly inﬂuenced by fashion. They recently associated with the Campana brothers for the new Artisan collection, becoming an exceptional concept. JV

www.bolon.com

Kartell – Claudio & Lorenza Luti

[iT]

in 2005, Lorenza Luti joined her father in the management team of family business Kartell as head of marketing and retail. she quickly expanded the Kartell presence to 120 ﬂagship stores worldwide and 150 shops. in 2008, Lorenza launched ‘glue Cinderella’, a collection of fashion plastic shoes, for Moschino. JV

www.kartell.it

iNTerVieW By FérieL KAroUi

Loïc Le Gaillard & Julien Lombrail

Since 2006, Carpenters Workshop Gallery (CWG) has been selecting contemporary pieces of design that flirt with art for their two London galleries. [Fr]

Maarten Baas, Vincent Dubourg, Studio Job, Ingrid Donat, Xavier Lust, Studio Drift… are just a few names already associated with the former carpenter’s workshop as well as PAD and Art Basel/Design Miami, who were seduced by their quest for exceptional one-off or limited edition pieces. tl.mag sent Fériel Karoui to meet the entrepreneurs who are not afraid of anything. — tl.mag : How did the idea for your collaboration come about? lo Ï c l e G a i l l a r d & J u l i e n lo M b r a i l : We’ve known each other since childhood and the idea to work together came from our complementarity and our common visions : we share the same qualitative and aesthetic requirements in the selection of designers/artists, the same commercial strategies, the same appetite for risk, and we also share our double room in Miami ! — tl.mag : You’re both entrepreneurs, and both from France. Why did you choose to open your galleries in London? l . l . G . & J . l . : Six years ago, when we decided to open CWG, the British economy was booming and we felt that there was a lack of good quality design. We found a niche that corresponded to our project, design-art, and we launched the business.

— tl.mag : CWG presents itself as a space for conceptual design-art. How do you merge these two different worlds? l . l . G . & J . l . : The mission of the gallery is to establish design-art as a legitimate discipline within the art world. We try to push the limits of design by unifying and transcending categories of concept/functionality and design/art through intellectually provocative exhibitions. Our exhibitions present not only new aesthetics to the public, but also enrich and bring new thinking to the discourse around contemporary design. — tl.mag : What involvement do you have in the work of the creatives? l . l . G . & J . l . : Julien oversees the creative process with the designers/artists until the pieces are in production with the craftsmen, whereas Loïc takes care of the museums and the dialogue between the creatives and the public. In short, Julien makes sure we produce the best objects and Loïc finds the best place for them in the collections. — tl.mag : What are your future plans? l . l . G . & J . l . : A third Carpenters Workshop Gallery should open this Autumn, this time in Paris.

www.cwgdesign.com

102-103 tl.mag #11 Design Duos

_____________

‘water for two’ carafe

result : €868*

Soﬁe Lachaert & Luc d’Hanis

Blown glass.Unique piece made in 2009. Lot 561 - sale PB&A 10/06/10

dUo’s WorK AT AUCTioN

‘What it is, it isn’t’ rag-and-bone-man result : €9300*

Ontwerpduo - Tineke Beunders and Nathan Wierink

Wood, tin, glass, polyurethane and glass lens on tripod. Limited edition, made in 2008. Lot 48 - sale PB&A 13/09/09

A sALes oVerVieW By FrANÇois éPiN, AUCTioNeer

ANd desigN sPeCiALisT AT Pierre Bergé & AssoCiés (PAris-BrUsseLs).

‘Ölke Bölke’ shelves result : €4580*

Tejo Remy (1960°) & René Veenhuizen

Furniture and objects from ikea form a three-tier shelving unit one of 5 pieces. Limited edition made in 2008. Lot 465 - sale PB&A 18/12/08

Carpe d’or

result : €34720*

Claude (1924°) & François-Xavier (1927-2008) Lalanne

resin with gold patina. Artcurial edition 250 examples. signed. Made in 1987. Lot 340 - sale PB&A 17/06/09

The complementary skills of duos manifest themselves in married couples, friends, or even family members. Some duos combine their creative skills while others split the tasks, one perhaps concentrating on communication, while the other takes care of production. The collaboration often stimulates the creation of new ideas and leads to a diversiﬁcation of the types of production but usually ends up creating a unique piece of work. So it’s difﬁcult to measure the extent to which each person’s role is responsible for the success. Below is a brief overview of contemporary creations at auction that have been designed by duos.

‘Prism 2’ suspension result : €3240*

Draw Me a Sheep Bo-Young Jung & Emmanuel Wolfs

‘Multidao’ chair result : €37200*

Fernando & Humberto Campana

stainless steel covered with cotton dolls. Made by estudio Campana, Brazil. Limited edition made in 2002. Lot 35 - sale PB&A 13/09/09

‘Vendor Cart’ delivery tricycle result : €3472*

Soﬁe Lachaert & Luc d’Hanis

Furniture, green lacquered, recycled clocks and mirrors. Unique piece made in 2006. Lot 179 - sale PB&A 17/06/09

*including fees

104-105 tl.mag #11 auction

Solar energy LCD screens diffuse colour variations. Limited edition 20 pieces. Made in 2009. Lot 203 - sale PB&A 17/06/09

viaggio in

Italia ISOLA COMACINA, ITALIA BELGICA

106-107 tl.mag #11 city report

Belgium is fortunate to have the concession of two modernist residences on the island of Lake Como, the deepest and most majestic lake in the Italian Alps. This trip to Italy, undertaken by artists and architects, is a unique experience, from the Villa Medici to the Venice Biennale.

108-109 tl.mag #11 city report

iNTerVieW By Lise Coirier

If the designers and artists take possession of these ‘lieux dits’ in — tl.mag : What effect does the island have on visitors and the artists the hope that they might be able to stay there, its because they are that live there, taking into account its history and the immediate enviso full of history and atmosphere. The isola Comacina (island on ronment ? f r a n ç o i s c o r n e t d ’ e l z i u s : The site is a concentration of pure beauty, and Lake Como) has also something in common with the Villa Medici the modernist villas are a magnificent reflection of the spirit of the place. of Rome and the Giardini in Venice : they are all holiday resorts, a . b . : These homes for Belgian artists are sublime, and are of unique retreats for contemplating the city and the landscape. Set back cultural importance. Our government should have the ambition to turn from the urban rhythm, these major centres of cultural tourism it into a challenging and accessible creative ‘showcase’, and redevelop are dedicated to artistic fulfilment. Indeed this is reflected in the Belgo-Italian exchanges. We must overcome the petty intercommunity paintings and sculptures of the Fiamminghi, the group of Flemish painters and sculptors who travelled to Italy to soak up the southern squabbling, if only out of respect for the Italian partners. This inspiring place, brimming with creativity, could become for the Belgians what light and the perspective of the Renaissance. The privilege here, is the Villa Medici in Rome represents for the French. not to be passing through, but to live here, and silently share the charm of inspiring moments that are becoming increasingly rare. An — tl.mag : Does the isola Comacina Foundation intervene in the choice of the artists and designers ? How was the dialogue established encounter with two of the protagonists, Consul General of Belgium between Italy and Belgium for this project ? François Cornet d’Elzius and the designer Alain Berteau, who are f . c . d ’ e . : The Belgian Communities and Italy have total freedom to choose behind the project to restore these houses using Belgian design. the artists. The villa that is traditionally assigned to Italy hasn’t been — tl.mag : Belgium has a usufructuary right to use two houses on the fitted out yet because the Academy of Fine Arts of Brera also intends to isola Comacina situated on Lake Como. Aside from your concertause it for showcasing furniture inspired by Lingeri’s architecture. tions with the Consul General of Belgium and the support of the two — tl.mag : Can you explain the attractive merits of the island and the energy that it emits in a few words ? What are your impressions after communities, what were your considerations for developing these habitats that are typical of the modernist architecture of the 1930s ? having lived here ? a l a i n b e r t e a u : The first challenge was the absence of a budget. f . c . d ’ e . : The place is magical : an island in the middle of a lake at the There was an urgent need to develop a project to encourage an heart of a lanscape that is both tragic with its steep terrain, and soft, extraordinary effort from the private sector. Some of the leading due to the microclimate. Isola Comacina has a broad heritage stretchinternational and Belgian design brands accepted the invitation. In ing back to the Middle Ages (8 churches were built), but it was taken exchange for donating furniture and equipment, they benefit from by force in 1069 by the city of Como who ransacked the island and the visibility that the island offers. The government also provided massacred its inhabitants. some aid for transport and on-site implementation. — tl.mag : If you had to associate the Villa Medici with isola Comacina, — tl.mag : What was the underlying theme of your project for develwhat would be your ultimate dream ? f . c . d ’ e . : I’d like to turn the island into a European centre of Art in Nature : oping the houses and artists’ residences ? Apart from the quality and organise an international competition each year to choose an artist, and originality of the designers and Belgian brands selected, what who would produce a piece of ephemeral art for the island which would kind of dialogue is there between art and design today ? a . b . : I approached the Comacina Foundation, with the support of be made from natural materials found in situ or from the surrounding the Consul General, to propose that we organise regular ‘design’ area. The artist would be housed in one of the villas until the artwork or events on the island to coincide with the Milan Furniture Fair. This installation was complete. After a few years the island would be transwould enable us to develop improved visibility for our partners. In formed into a lively garden full of art and contemporary design. my role as curator of these exhibitions, over a three year period www.isolacomacina.be I would do my utmost to preserve the quality and functionality of this ‘permanent collection’ of design. My objective is to build up a great collection of Belgian design that can interact with the modern rational architecture of Pietro Lingeri’s houses. These masterpieces that echo the style of Le Corbusier with their raw and rustic simplicity, compete with the incredible beauty of the site.

tl.mag would like to thank WBi – Wallonia Brussels international and the Flemish Community of Belgium for their support.

110-111 tl.mag #11 city report

PhoTogrAPhy By ViNCeNT FoUrNier

A couple on a trip… are lost on an island. A subtle nod to the Italian film by Michelangelo Antonioni, L’Avventura that was produced over 50 years ago, the first of a trilogy (La Notte, 1961, and Eclipse, 1962). In this Italo-Belgian adventure, the scenery of the volcanic island of Lisca Bianca is imagined as a series of paintings on the isola Comacina. Lost on the island, the couple face up to their problems : communication, a passing storm… What follows is a Belgo-Italian exchange between fashion, architecture and design in the idyllic setting of Lake Como.

Photographer : Vincent Fournier Art Direction and Styling : yoyo / Assistant Stylist : Florence Duyzings Models : Layna and Adrien@Dominique models / Hair and Make up : www.ilovemakeup.eu Special Thanks to the Consul General of Belgium, Mr François Cornet d’Elzius, the French and Flemish Communities, designer Alain Berteau, the Comacina Island Foundation and Aude Storckel.

112-113 tl.mag #11 city report

114-115 tl.mag #11 city report

116 tl.mag #11 city report

Skirt : H&M – Shirt : Sandrina Fasoli – Umbrella : Monsel - Bag : Samsonite – Shoes : Jean-Paul Knott Adrien on the grass alone // Suit : Jean-Paul Knott – Shirt : Thot Memphis – Shoes : Cerruti page 109 jacket VV brown – polo shirt Marcel de Bruxelles – trousers Dries Van Noten page 109 girl in front of large door // Dress : Sandrina Fasoli – Belt : Jean Paul Lespagnard page 109 Adrien on the balcony // Suit : Cos – Shirt : Bellerose – Shoes : Cerruti – Belt : Delvaux page 110 girl reading // Dress : Rue blanche – Shoes : Jean-Paul Knott page 113 // layna jean dress Paul Lespagnard // adrien polo shirt Marcel de Bruxelles – trousers Hackett page 114 Layna with the necklace // Necklace : Olivia Hainaut – Jacket : Cos – Belt : stylists own – Trousers : Dries Van Noten page 114 Adrien at the window // Polo : Le Fabuleux Marcel de Bruxelles page 115 Adrien and Layna back to back // adrien Vest : VV Brown – Trousers : Dries Van Noten – Knitted Jumper : Le Fabuleux Marcel de Bruxelles – Glasses : Martin Margiela layna Trousers : Jean-Paul Knott – Jumper and Jacket : Hampton Bays – Belt : Dries Van Noten page 115 couple with Adrien in tree // layna Dress : Jean-Paul Knott – Sunglasses : Martin Margiela – Skirt : H&M – Shoes : Jean-Paul Knott – Belt : Fashion against aids H&M // adrien chemise : Shirt : Bellerose – Tie : Degand – Trousers : Hackett – Shoes : Cerruti – Waistcoat : Lacoste – Shoes : Cerruti page 116 Layna and Adrien lying on the grass // layna Shirt : Sandrina Fasoli – Skirt : H&M – Shoes : Jean-Paul Knott – Bag : Samsonite adrien Shirt : Bellerose – Trousers : Dries Van Noten – Bow tie : Christophe Coppens – Shoes : Cerruti page 107

page 107

Ä?eskĂ˝ design the republicâ&#x20AC;&#x2122;s resurgent scene

Playing to local strengths is putting Czech design on the international map as new and heritage manufacturers look to a vitality of homegrown talent to propel them into the future.

TexT By gUy diTTriCh

The recent economic crisis sharpened business acumen and pencils in boardrooms and at drawing boards across the Czech Republic. Whilst some manufacturers closed and others consolidated, contemporary Czech design is resurgent. Such confidence is the result of a number of interrelated factors, predominantly the belief shown by local manufacturers in local designers. The region’s strong design and manufacturing heritage dimmed by years of communism has, some two decades after the Velvet Revolution, begun to shine once more. A burgeoning middle class, compared to its eastern neighbours Romania & Hungary, have regained an interest in design and brought with them their newfound spending power. And the future looks bright given the pedagogical continuity of today’s designers now lecturing at the large number of design schools across the country.

Striving to innovate in a saturated market ‘In the last few years Czech producers are asking Czech designers to create for them,’ explains Helena Koenigsmarková, Director of the

Prague Museum of Decorative Arts. World-renowned brands such as Moser glassworks and TON, producers of the original bentwood chair designs of Michael Thonet, have commissioned new collections from Czech creatives such as Lukáš Jabůrek and studio Olgoj Chorchoj. Newer companies, like glassmakers Verreum and Bohemia Machine Glass (BMG) have from the beginning walked a local design path. Established in 2009, Verreum are the only European supplier to specialize in the silvering of double walled glass using a 150 year old technique. ‘We are trying to make new things in an old way,’ explains Katerina Kocmatová, Head of Marketing. ‘Sometimes it is better if the designers do not have any experience with glass. Then they are able to think about it without any limitation and push production to levels we did not know we could reach,’ she explains of their progressive approach in appointing designers such as Vladimír Žák, Rony Plesl and, again, Olgoj Chorchoj. The busy founders of Olgoj Chorchoj, Michal Froněk and Jan Němeček, are also responsible for the art direction at BMG, who have in-depth skill in providing cutting and grinding machines to the

118-119 tl.mag #11 retail

Panathenaiq, ceramics designed by daniel Pirsc

2.4.5. Qubus 6.7.

Transparancy Nation

Argenteus orum, rony Plesl, Verreum

chair. Qubus have a second outlet within DOX and also curate the collection within the library of the Hotel Maximilian, which like the Hotel Josef, is designed by Czech doyen Eva Jiřičná.

Nurturing new talent From a more artistic viewpoint is the Artbank initiative, launched last spring at the Dvorak Sec Gallery in Prague. ‘Artbank is a project to Honing pre-revolutionary skills help young artists,’ explains Petr Šec, ‘a chance for young art to inThe legacy of crafts-based knowledge has been preserved in the Retroduce itself and be known to society.’ Together with co-curator Olga public like few other countries. The aspic of communism that slowed Dvorak, the gallery aims to promote local talent and encourage the innovation until the revolution was equally good at safeguarding skills, incorporation of art into everyday living. A similar crossover between particularly in glass and porcelain production.‘Traditional methods curatorship and retail is seen at the new Křehký Gallery where Jana of craftsmanship have always played a strong role in Czech design,’ Zielinski and Jiří Macek have, like the Czech manufacturers, commissays Koenigsmarková, ‘and the Prague Academy of Arts, Architecture sioned local designers to produce limited collections. Zielinski and Macek also curate the Republic’s most important and Design (AAAD) did what they could in pre-revolutionary times design festival, Designblok, the 13th edition of which will take to maintain these skills.’Similarly the practical post-revolutionary commercial business experience of current lecturers, such as Froněk, place in venues across Prague this October. Exhibitors are by invitation only with the aim of maintaining an artistic level whilst Němeček and Plesl, is being passed on. giving space to the process of design and prototypes plus the The work of Plesl’s students is currently showcased in an exhibicommercial reality of the business of design. ‘Step by step Czech tion, Transparency Nation, at DOX, the centre for contemporary art producers are raising their head,’ explains David Řezníček, partner founded by ebullient Leoš Válka in the gritty Prague neighbourhood at international furniture showroom Konsepti and member of the of Holešovice. Some of the works are monumental in scale, suiting Designblok selection committee, ‘A strong design community is the wide, white environs of DOX, and free from petty detail. A trend only fostered by a strong manufacturing base.’ towards ‘more minimalism, of simple forms lacking adornment’ is also discerned by Jiri Pelcl, architect and Plesl’s fellow teacher at the *Qubus don’t lack for competition. The retail market is packed by AAAD, who has a solo exhibition of his work at DOX this autumn. others promoting a particular angle on Czech design. Designer Jakub Berdych identifies another trend in the return of Artěl (an artisanal collective specialising in glass), wood. In 2002 Berdych co-founded with Velčovský, Prague’s first Material (two venues featuring the outstanding glass craft of Tomáš design store, Qubus *. ‘Now is the time of wood,’ says Berdych, ‘it is Kysela), Kubista (within the Museum of Czech Cubism this gallery focuses on cubist design), Futurista (contemporary Czech design) and easy to use, relatively inexpensive and renewable.’ His Landscape Modernista (reproduction and vintage Czech design) amongst them. collection, a wood and glass combination, is such an example but Berdych also points to TON’s revitalization and the simplicity of style We were welcomed in the Maximilian Hotel in Prague. A big thanks to them for the pleasant stay. of Olgoj Chorchoj’s Sledge and Shanghai chair and René Šulc’s Era

120-121 tl.mag #11 retail

glass industry. ‘The factory is small but flexible,’ explains Froněk, ‘Using a 3-D tool, a ‘robot jack’, we are not trying to imitate Bohemian craftsman but rather develop an advanced technology for the decorating and cutting of glass in the 21st Century.’ A method that allows for the realization of wildly differing collections from Maxim Velčovský and Mária Hostinová of Suprodesign.

1. Jane evans, graduation Project rCA 2011 2. Jane Bowler, Blue raincoat

are

TexT By hUghes BeLiN

When the creators of the French brand of clothing dedicated to sliding sports ‘Picture Organic Clothing’ tested the market before launching their first range three years ago, their target customers, young athletes aged 15 to 30, were totally enthusiastic about the eco-design of their products. However, nearly all of them refused to pay one more euro for clothing that was more ‘eco friendly,’ explains Julian Durant, one of the three founders. Notwithstanding, the Auvergnebased brand are committed to developing all their products from organic or recycled materials, offering them at prices similar to standard products. It’s therefore necessary to compromise : ‘Industry should lead the way,’ says J. Durant. It’s not a problem for high-end clothing, because the price difference is not so great. For mass-produced garments, however, we cannot have an ‘anything goes’ policy if we want to stay in the race and face up to the classic competition.

LCA reveals all That’s where the Life Cycle Assesment (LCA) comes in, which enables you to precisely measure the impact of textiles on the environment, from the raw material to the end of the life cyle, through their use, and therefore the cost of environmental improvements to control their impact. For engineers working on the ACV-Tex* cross-border project, the higher the

Expenditure on clothing is falling, while the quantity purchased is increasing. This global decline in quality is harming the environment. Textile life cycle assessments have a capital role to play here to mitigate their impact on our planet. quality of fabric, the more positive the impact will be on the environment, because it won’t need to be replaced as often. And if it’s recycled, the environmental impact will be reduced accordingly. The LCA enables you to calculate the cost of implementing different options. ‘The impact on the price of bio-cotton is in the order of 5%, for the recycling of poyester it’s 35 to 60% of the price’, states J. Durant. ‘So there’s a real conflict between profitability and ecology,’ he concludes.

Towards an equal footing ‘In these times of crisis, consumers buy a price, the same goes for all the players in the retail distribution sector,’ stresses Xavier Joppin, who works for Celabor, an ACV-Tex partner. The direct consequence : a general decline in quality, accentuating the overall global environmental impact of textiles, and exacerbated by the difficulty in recycling clothes that are of poor quality. The selling price to customers has a major role to play in perpetuating industrial innovation in environmental sustainability. Especially since the scale of the mass market is much broader than the high end. The key element, that is the sales price, would probably need a short term boost such as preferential taxation measures so that conventional and ‘green’ clothing are on an equal footing to break the ‘good for the environment or for the wallet’ dilemma. But that’s not enough for Arie Doets, from the style

bureau ‘Sensibilities’ : ‘it’s our consumer culture that has to change, and now, the policy makers have a major role to play in communicating positively on ecology.’ A. Doets also believes in collective initiatives via social networks to change consumer behaviour, like GoodGuide, which enables you to have instant access to the ecological balance of each consumer product, including textiles. Another example is the militant actions of CarrotMob and their buycotts, that incite shops to sell ecological products by guaranteeing them a market. So to continually offer ‘greener’ products is only half the story : you’ve still got to sell them. Pending a genuine industrial policy aimed at favouring local production, manufacturers have a whole series of tools at their disposal to optimise their specifications (LCA, carbon footprint, innovation) and stimulate the growth of the market for ‘greener’ textiles, because in the words of A. Doets, ‘we will soon have no choice.’

www.acvtex.eu, www.picture-organic-clothing.com, www.celabor.be, www.sensibilities.fr, www.goodguide.com * co-financed by FeDer, the walloon regions and the region of nord pas-de-calais, with their associated partners : gemtex, celabor, uit nord and Fedustria.

122-123 tl.mag #11 eXpertise

green T E X T I L E S too expensive ?

french kiss stra iNTerVieW By Lise Coirier

tl.mag met Christophe Pradère, Managing Director of BETC Design, who answered some searching questions after returning from his trip to Luxepack New York where he outlined his vision on the limits of ‘well packaged’ luxury goods.

tegy

1. Louis xiii in its precious casket 2. Viktor & rolf for Piper heidsieck

— tl.mag : Luxury is a changing concept. What are the codes that define luxury within our society today? c H r i s to P H e P r a d È r e : Luxury is a paradigm. What makes it timeless and defines its essence is the concept of the extraordinary. Not so long ago it was synonymous with the everyday products of the powerful of this world, whose lifestyle and purchasing power were unusual for the time and remain so even by today’s standards. However, attitudes have changed and luxury has become extraordinary for ordinary people. By mutating from a class to a market segment, we push the marketing strategy to stretch out the desire, sometimes even to the point of deception. But consumers are willing, nobody complains if we take a few liberties. So, if luxury is a concept that has evolved, it is changing,

unity is strength with a premium product, but how far does the real pleasure go? Is perhaps even fluctuating. The main loss of value was during the time it lust, or luxury in the literal sense of the term? that the absolute and objective became relative and subjective. — tl.mag : How is luxury expressed in a brand identity? The BETC c . P .: Luxury is justly founded on a principle of permanence, consistDesign method… ency and coherence. Luxury brands are those that marry the excelc . P . : In fact, our mission as a designer is less about expressing the lence of their vision with an implementation that uses exceptional notion of luxury in a brand, or product offerings and distribution meth- savoir-faire. So in my view the ultimate and most modern luxury ods, than about revealing it. Within every brand lies its potential, ambi- brand to be created in this way was Apple. tion and its limits. Luxury is reserved for very few of them. However, — tl.mag : Within BETC Design, would you like to see a return to any brand can establish a premium offering, or elevate its own status. simpler values and best standard practices? c . P .: Our society and our quest for progress are founded on the My approach is based on ‘cultural’ reflection, that is to say from the liberation of our human limitations, or the limits of our bodies, our parameters of the brand culture. We analyse and try to discover the minds and even our emotions. This quantifiable progress may be underlying belief and faith that people have in the brand : the core myth. We then decipher the associated rituals, and in doing so we can abrasive in view of the quality of our daily reality. We do not of course understand all the potential and powers contained in the brand. Then need all the potential that life offers us today. So its about reconciling this machine-like aspect with our human dimension, that’s what we create or embody the brand to reveal its underlying forces. — tl.mag : What is the relationship of the DNA with the message of the design is about. In other words, I would like to introduce a higher brand? Is it just a question of perception or a quest for personalisa- level of sensitivity, sense of poetry, irrationality and trivial detail into tion and shared pleasure? this great adventure of human progress. Perhaps the kiss is the best c . P . : We don’t use the concept of brand DNA but we concentrate on metaphor, the fusion between the physical and the spiritual, the the core myth, the quest, rites of values and signs. All these semiotic reconciliation between two people, two desires, two ambitions for the elements are closely related to the expression of the brand. benefit of each other. This is what every progressive brand should — tl.mag : Within acceptable limits of luxury, what type of brand will adopt with its clients : ‘the French Kiss strategy.’ coexist best with a packaging that is in line with its uses? The consumer will naturally feel flattered to possess the luxury that comes www.betcdesign.fr

124-125 tl.mag #11 eXpertise

BooKs reVieWed By MiLes sTANdish & Lise Coirier

books CHANGING THE WORLD WITH A FLOWER VASE

IV Biennial of ceramics in contemporary art rrP €30.00

by Roberto Contantino and others

Arguably the only way you’re going to change the world with a ﬂower vase is by creating something that makes us look at a vase in a different light. It’s a challenging thought. A traditionally simple, utilitarian object, that seemed to accept its subservient role has gradually evolved into a decorative ‘prima donna’, sometimes to the detriment of the ﬂowers. The forty projects featured in this book have reconsidered the boundaries of what constitutes a vase and the results are nothing short of amusing, delightful, surprising and intriguing. innovation usually equates with progress, and progress means the world will surely change. Mission accomplished. The vases will also be exhibited at the Museum of Contemporary Applied Arts and design (MUdAC) in Lausanne (June – september 2011). Ms

published by Corraini Edizioni / cover : Vedovamazzei, Reset, 2009 www.mudac.ch

UNEXPECTED THOUGHTS – CONTEMPORARY JEWELLERY : NOOVO 3

NUEVO MUNDO

Latin American Street Art

DESIGN HOTELS TM MADE BY ORIGINALS

rrP €35.00

rrP : €44.00

by Maximiliano Ruiz

editors : Design HotelsTM

The aptly titled ‘Nuevo Mundo’ is a confirmation of why street art is such a popular form of social medium, and why it has become so deeply engrained in Latin American culture. From the experimental to the sublime, each decorated facade confirms the idealistic notion that art is for the masses. indeed for the burgeoning community of internationally respected and upand-coming talented street artists, many of whom have exhibited around the world, this whole continent is one vast canvas. No longer confined to the sprawling cities, street art has spread to remote villlages in the countryside, representing the true diversity of expression that mirrors all forms of society. street art can certainly claim to brighten up the environment, but this richly documented book will brighten up your day. Ms

‘Meet the driving forces and creative spirits behind the world’s most expressive hotels’, states the press release, setting the tone for what must surely be the slickest book in its sector. of course ‘being slick’ comes as no surprise to anyone familiar with the design hotelsTM experience. over the years, the company has become a byword for a unique, sophisticated, hospitality experience. Fortunately for those of us who admire ‘unique’ qualities good taste comes in many forms, which becomes increasingly apparent as we are introduced to each well-heeled entrepreneur, candidly revealing what makes them tick in the relaxed surroundings of their sumptuous properties. But for once the visual sophistication of the hotels plays second fiddle to something even more powerfully evocative - the stories behind the hotels and the imagination of their creators. Ms

This glossy high-quality publication is part of a series of books championing the works of multitalented designers whose work hovers under the mainstream ‘fashion’ radar. An infinitely more exciting place to be judging from the charismatic selection of objects curated by the team at Noovo. Unexpected thoughts there certainly are. This is jewellery spock, but not as we know it. if you’re searching for a deeper meaning behind a particular interpretation you’re likely to find it in the introductory text written by each designer. For the fashionista who just wants to stand out from the tribe go straight to the website. The titles are distributed in Belgium and europe to all major book stores, museum stores and online bookshops, or can directly be purchased at www.pepinpress.com. Ms

distributed by Gestalten / cover illustration : Maira Kalman

published by The Pepin Press Amsterdam / cover : Lisa Walkern, What Karl Didn’t Take With Him

published by Gestalten

rrP €19.50

editors : Rosario Gonzalez y Santeiro and Jorge Margollos Garrote de Noovo

www.noovoeditions.com

THE DESIGN WORK OF EDWARD BARBER AND JAY OSGERBY

TAXING ART

rrP $75.00 Us

rrP €29.90

rrP €49,90 excl. shipping costs

by Edward Barber and Jay Osgerby Essays by Zoe Ryan, Deyan Sujic and Simon Andrews

by Jeanne Tan, compiled by Hedwig van Onna and Hanneke Kamphuis This richly illustrated book is stunning and shows the diversity of colours which have been used by artists and designers over the last millennia, in order to express their emotions and ideas. From frescoes to textiles, haute couture and the digital age, colour plays a central role in our visual perception and experiences. Colour is also synonymous with trend books and forecasting and is associated with the aesthetics of making, technique and materials. There are also strong feelings and meanings emerging from colours through the ages on every continent and culture of the world. one of the high points of the book, published by our dutch neighbours Frame magazine, is the high quality interviews with professionals such as Louisa hutton, hella Jongerius and Liz Griﬃths from Missoni. LC

published by Frame Publishers

This refreshing and surprisingly candid monograph takes a detailed, introspective look at the extensive, eclectic and accomplished body of work that the British-born duo have produced for private clients and some of the world’s most prestigious companies. Punctuated by essays and discussions by leading figures from the design world, each carefully crafted page is brought to life through sumptuous photography that vividly accentuates their mastery of aesthetic simplicity and engineered craftmanship. Photographs of sketches, details, materials, prototypes and finished products help guide us through the design process while Barber & Osgerby fill in the blanks. Understated, meticulous, inspiring. Ms

published by Rizzoli, New York, 2011

When Objects Travel by Beta Tank Based on real-life events experienced by Berlin-based design studio Beta Tank, this fascinating book gives the reader invaluable insight into a notoriously ‘grey’ area of taxation, one where tax and customs authorities have differing views on what constitutes a piece of commercial design and design art. it’s actually quite a funny book (probably because it wasn’t written by a tax specialist) wrapped in a serious title. Aside from the nuggets of information for would-be designers or gallerists that may effect your future design process or business plan, the narrative is easy-todigest, supported by facts, figures, illustrations, and reportage-style photography that documents the objects as they journey from Berlin to Basel, Barcelona, istanbul, doha, and back to Berlin. A perfect gift for a Swiss customs oﬃcial with a sense of humour. Ms

published by Gestalten

Highbrow, Lowbrow, Nobrow (Mōdart No. 02) Creative action = active creation rrP Us$29.95

by Harlan Levey ‘highbrow, Lowbrow, Nobrow’ is a statement about the production of art and the subsequent construction of myths, value and legacy, which traces the politics of risk. The first half of the book focuses on street Art and traces a subversive movement known as Moussism back to Caravaggio. The second half of the book gives detailed insight into projects that Modart participated in during 2009/10 and talks about the various artworks on show in Brussels, Berlin, Tirana, Miami and other cities around the world. Artists include : Zoe strauss (UsA), Jeroen Jongeleen (NL), david shrigley (UK), Abner Preis (UsA), Willehad eijers (de), east eric (Fr), Nomad (de), Mark Jenkins (UsA), Will Barras (UK), dadara (NL), Logan hicks (UsA), The Math rat (BZ), Morcky Troubles (iT), Alex diamond (de), Admir Jahic / The invisible heroes (Ch), Faith47 (sA), swanski (PL), Byram (Be), Boris hoppek (de), h. Beagle (UsA), roA (Be), ripo (UsA) and smash137 (Ch). LC

The title is available at Amazon.com, Modart.com, and through quality bookstores worldwide. published by Gingko Press

126-127 tl.mag #11 Books

Colour Hunting How Colour Inﬂuences What We Buy, Make and Feel