Timeless Design Philippe Starck Philippe Starck is a French designer who has become widely known since the start of his career in the 1980s for his interior, product, industrial and architectural design including furniture and objects that have simple but inventive structures. He has 23 dogs and has an obsession with cats. He started his business at the young age of 25 and now is a millionaire at the age of 66.
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Philippe Starck, (born January 18, 1949, Paris, France), French
Starck's prolific output expanded to include furniture, decoration,
designer known for his wide range of designs, including everything
architecture, street furniture, industry (wind turbines, photo booths),
from interior design to household objects to boats to watches. He has
bathroom fittings, kitchens, floor and wall coverings, lighting,
also worked as an architect.
domestic appliances, office equipment such as staplers, utensils (including a juice squeezer and a toothbrush), tableware, clothing,
Most likely influenced by his father, who worked as an aeronautical
accessories (shoes, eyewear, luggage, watches) toys, glassware
engineer, Starck studied at the École Nissim de Camondo, Paris, and in
(perfume bottles, mirrors), graphic design and publishing, even food
1968 set up his first company, which produced inflatable objects. An
(Panzani pasta, Lenôtre Yule log), and vehicles for land, sea, air and
inflatable structure he imagined in 1969 was a first incursion into
space (bikes, motorbikes, yachts, planes).
questions of materiality, and an early indicator of Starck's interest in where and how people live. Starck's iconoclastic designs brought him to the attention of Pierre Cardin who offered him a job as artistic director of his publishing house. At the same time, Starck set up his first industrial design company, Starck Product - which he later renamed Ubik after Philip K. Dick's novel - and began working with manufacturers in Italy – Driade, Alessi, Kartell – and internationally, including Austria's Drimmer, Vitra in Switzerland and Spain's Disform. His concept of democratic design led him to focus on mass-produced consumer goods rather than one-off pieces, seeking ways to reduce cost and improve quality in mass-market goods.
Context in Design The buildings he designed in Japan, starting in 1989, went against the grain of traditional forms. The first, Nani Nani, in Tokyo, is an anthropomorphic structure, clad in a living material that evolves over time. The message was clear: yes, design should take its place within the environment but without impinging on it; an object must serve its context and become part of it. A year later he designed the Asahi Beer Hall in Tokyo, a building topped with a golden flame. This was followed in 1992 by Le Baron Vert office complex in Osaka. Starck's buildings, while dedicated to work, are no less instilled with life and its constant effervescence. In France he designed the extension of the École Nationale Supérieure des Arts Décoratifs (ENSAD) in Paris (1998). The Alhondiga, a more recent project, is a 43,000 sq. m culture and leisure venue in Bilbao that opened in 2010. Starck, who loves ships and the sea, designed the new infrastructure for the Port Adriano harbour on the southwest bay of Palma de Mallorca, and was also artistic director for the interior. It opened in April 2012. He also designed Steve Jobs' yacht, Venus, which launched in October 2012.
Design with Theatricality For the past thirty years Philippe Starck has been designing hotels all
In South America, Philippe Starck designed the inside and outside of
over the world, including the Royalton in New York in 1988, the Delano
the Hotel Fasano in Rio de Janeiro in 2007 using materials such as
in Miami in 1995, the Mondrian in Los Angeles, the St Martin's Lane in
wood, glass and marble. He then turned his attention to luxury hotels:
London in 1999, the Sanderson, also in London, in 2000, and the
in 2008, Hôtel Meurice and the Royal Monceau in 2010.
complete 2001 renovation of the historic Clift in San Francisco with its updated art-deco bar, the Redwood Room.
From 1990, Philippe Starck embarked on another crusade to democratize quality "designer" hotels, beginning with the Paramount in New
They may be different each time, but every one of Philippe Starck’s
York. Offering rooms at $100/night, it became a classic in its genre. In
scenarios establishes firm connections with those who generate the
2008, Starck brought this generous, humanist concept to Paris as the
soul of a venue, while taking an intimate approach articulated around
Mama Shelter. A second Mama Shelter opened in Marseille in 2012,
subversion, sensuality, creativity and poetry. Like a euphoric, optimis-
with a further three scheduled for 2013 in Lyon, Bordeaux and Istanbul.
tic director he treats every living space as if it were a theatre where a
Left page: Steve Job’s yatch, Venus 2012 Right page: Blue Door Fish, a restaurant in the Delano hotel, Miami
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story unravels, creating a sort of drama sprinkled with surreal acts.
In North America, in the 2000s, Philippe Starck with entrepreneur Sam
Whatever the project, Starck enjoys highlighting its singular pulse, its
Nazarian created the concept for SLS, a chain of luxury hotels. The
special vibration, to create a venue in harmony with its environment
Bazaar lobby at SLS Hotel in Beverly Hills quickly became a public
while lighting its romantic flame.
space with its tapas restaurants, Norwegian health bar, pâtisserie and a Moss concept store.
PHILIPPE STARCK | 37
As a protean designer, Philippe Starck re-thinks the most ordinary objects from our daily lives and the most astonishing, always to the point of drastic reinvention. He rebels against acquired laziness in order to serve us as well as possible while delivering his messages of humanity, love and poetry. His designs focus more on functionality than the object itself, aiming to provide the best possible service using a minimum of material. From this economy comes the elegance of a minimal line – al- most a philosophy – and spreading curves that lean towards the disap- pearance of objects. So Philippe Starck developed plastic furniture, the pinnacle of which is undoubtedly the iconic Louis Ghost chair (Kartell, 2002) a veritable trea- ty of modernity with an inevitable dematerialisation. Since its launch no less than a million examples have been sold. Some of the numerous dai- ly objects revisited with his mischievous approach have become the most emblematic examples of design today.
Design with Humanism Over the course of these varied commissions, he did not develop one
“We have to replace beauty which is a cultural concept, with goodness which is a humanist concept.”
distinct aesthetic or a preference for certain materials. Rather, he addressed the needs of an individual client, whether it was the somewhat conservative character of state apartments or the more flamboyant tone needed for a trendy nightclub. Some constants did develop in Starck’s work, however, such as a preference for fluid, organic forms and the inclusion of subtle, playful details. For example, in the Delano Hotel (1995) in the South Beach area of Miami Beach, Florida, each room has a metal apple holder affixed to the wall; the phrase “An apple a day keeps the doctor away” is printed on the holder, promising a daily replenishment of apples.
Soulful Design As someone who believes in nurturing both body and soul, Philippe
Through his "democratic design" concept, Starck campaigns for well
Starck has several restaurants to his credit: Bon (2000), Mori Venice Bar
designed, quality objects that are not just reserved for an elite. He
(2006) and Le Paradis du Fruit (2009) in France, and the notable launch
would put this utopian idea into practice by increasing production
of Katsuya in Los Angeles in 2006, the first in a series of Japanese
quantities to cut costs and by using mail order, via Les 3 Suisses. In
restaurants. The A'trego opened in Cap d'Ail in 2011. More recently, he
January 2013 he redesigned the Navigo travel pass. Starck strongly
designed both the inside and outside of Ma Cocotte, a new restaurant
believes that good design often comes from the soul and it should be
that launched in September 2012 at the Saint-Ouen flea market near
available to anyone and everyone. Because just like food, design is
Paris. In 2013, he designed Miss Ko, an Asian-centric concept restau-
also a kind of lifestyle.
rant in Paris. In November 2011, Lodha Group appointed Phillippe Starck for "yoo inspired by Starck", to design the residential development at New Cuffe Parade, Mumbai. In November 2012, Starck published his first book of interviews, Impression d'Ailleurs, with Gilles Vanderpooten. In
Left page top: Flos - Bedside Gun Table Lamp
it, he delivers an incisive, offbeat view of the challenges facing the
Left page bottom left: Apple holder, Delano Hotel, Miami.
world to come - ecology, solidarity, youth, science - and, as a human-
Left page bottom right: Kartell Louis Ghost chair
ist, suggests ways we can make a difference.
Right page: Katsuya, a restaurant designed by Starck in LA, 2006.
PHILIPPE STARCK | 39
PHILIPPE STARCK | 41
Left page top left: Toothbrush, Fluocaril toothbruch, by Philippe Starck Left page top right: Juicer, Alessi’s Juicy Salif lemon squeezer Left page bottom right: Headphones, Zik by Parrot, designed by Philippe Starck Right page top: Eyeglasses, Starck eyes Right page bottom: Chandelier, Zenith, the Darkside Collection, Baccarat, 2005 Page 40 and 41: Interior, Yoo inspired by Starck, MontrÊal, 2011
Plastic, plastic, plastic One of the ways Philippe Starck makes design available to all is his plastic furniture, producing pieces such as the Kartell Louis Ghost chair, over a million of which have been sold. He has also been involved in the development of Fluocaril toothbrushes to bathroom fittings for Duravit, Hansgrohe, Hoesch and Axor, from Alessi's Juicy Salif lemon squeezer to Zikmu speakers, Zik headphones by Parrot, Laguiole knives, Starckeyes glasses by Mikli and the Marie Coquine lamp for Baccarat. Sometimes pointed political messages can be found in projects, such as the subversive Gun Lamp (Flos, 2005), the Superarchimoon floor lamp (Flos, 2000), in fact a giant architect's lamp standing 217 centimetres high, the Haaa!!! and Hooo!!! lamps he imagined with the American artist Jenny Holzer (Flos/Baccarat, 2009) and the chandeliers in the Darkside collection, featuring the Zenith chandelier (Baccarat, 2005). During the 1980's and 90's Starck continued his prolific creativity. His products have sensual, appealing forms suggestive of character or personal identity and Starck often conferred upon them clever, poetic or whimsical names (for example, his Rosy Angelis lamp, the La Marie chair and playful Prince Aha stool.) Starck's furniture also often reworks earlier decorative styles. For example, the elegant Dr. No chair is a traditional club chair made unexpectedly of injection-molded plastic. While the material and form would seem to be contradictions, it is just such paradoxes that make Starck's work so compelling.
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Multiplication in Design
Honesty is Timeless
What is humanity lacking? Certainly not more objects... Because he is
task is to show the path,” he underlines, “The only important thing to
Starck's approach to design is subversive, intelligent and always
acutely aware of this and because he places the individual at the
me is the effect my creations have on their users, on my cultural tribe.”
interesting. His objects surprise and delight even as they transgress
centre of his work, Philippe Starck enjoys telling us that the pencil is his only tool – weapon even – that he has for changing the world.
boundaries and subvert expectations. During the 90's Starck has also He believes that sincere, modern elegance comes from the multiplica-
begun to promote product longevity and to stipulate that morality,
tion of an object, as opposed to the ideology of limited editions, where
honesty and objectivity become part of the design process. He has
By creating objects that are good, human and intelligent before being
premeditation on rarity leads to a selection through money rather
said that the designer's role is to create more "happiness" with less.
beautiful, Philippe Starck is present in our daily lives. His creations
than necessity. Starck has successfully dedicated his life to the fight for
One can almost hear echoes of Charles and Ray Eames, who "wanted
make our lives, they are life themselves with the most anodyne
impos- ing a design concept that goes beyond elitism.
to make the world a better place." For all his fame and fashionable-
discovering a hidden allure when they reveal their secret poetry. So
ness, Starck's work remains a serious and important expression of
the toothbrush metamorphoses into an amicable reference point in
20th century creativity.
the heart of the bathroom, an encouraging wink, as well as being rigorously func- tional... Every object created is a letter the designer
“I didn’t have the intelligence or the presumption or the ambition to try
wishes to send us.
to create a brand. It’s just the sum of all my work—clear logic, clear ethics, clear creativity—that has created it. We are high-tech, rigorous, honest, avant-garde, always going in the same direction. And we have
Through the emotions and reactions that a space provokes, the visitor becomes an actor in a story that takes him out of himself towards a
Top of spread: A minimalist clock, Time Less , by Philippe Starck with
vision. Everything we said would happen 26 years ago has happened,
dream and beyond showing him that another life is possible. “My only
Jonathan Bui Quang Da, 2012
and now it’s clear we’re absolutely not trendy. We are timeless.”
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“Elegance and honesty are two mandatory parameters for any human production.” PHILIPPE STARCK | 45