The Jury of the EU Mies Award 2019 has selected the five finalist works for this year’s edition of the prize. They are: PC CARITAS in Melle by architecten de vylder vinck taillieu ; Plasencia Auditorium and Congress Centre by selgascano ; Skanderbeg Square in Tirana by 51N4E, Anri Sala, Plant en Houtgoed and iRI ; Terrassenhaus Berlin/Lobe Block by Brandlhuber+ Emde, Burlon and Muck Petzet Architekten ; Transformation of 530 dwellings – Grand Parc Bordeaux by Lacaton & Vassal architects, Frédéric Druot Architecture and Christophe Hutin Architecture.
Two of them – PC Caritas in Belgium and Grand Parc Bordeaux in France – are adaptive reuse projects; the first of them has been capable to invent a new spatial typology which also creates a network of social relationships; the second one improve the living standards of 530 residential units also by adding a winter garden to each of them.
The theme of functional flexibility is well represented by the Terrassenhaus Berlin / Lobe Block, while the renovation of Skanderbeg Square, in Tirana, has been considered the cornerstone of the future urban renovation of the city.
Skanderbeg Square City – Tirana, Albania
Offices: 51N4E; Anri Sala; Plant en Houtgoed and iRI
The Skanderbeg Square public space renovation has been conceived from the beginning as the start of the urban renovation of Tirana. The project is particularly significant both as a new space in which the local community can gather every day and as a seminal work which can trigger, in the near future, the redevelopment of the urban areas nearby as well as of the streets which connect such areas to the newly renovated square. The green belt which encircles the Skanderbeg Square comprises twelve gardens whose design was developed in a number of public workshops.
51N4E; Anri Sala; Plant en Houtgoed and iRI, Skanderbeg Square City – Tirana, Albania; photos Filip Dujardin.
PC CARITAS – Melle, Belgium
Office: Architecten De Vylder Vinck Taillieu
Dating back to the 19th century, The Sint-Jozef building is part of the Caritas di Melle psychiatric center. Abandoned for a long time, the building was saved from demolition and transformed into a hybrid between a closed and an open-air space. The collaborative design team – which comprised aDVVT architects, the medical staff, and the patients of the center – devised a place, part of a public park, which can be used by both the patients and the local community. The old building was restored, repaired and improved; the openings were enlarged to increase natural lighting, internal and external spaces were connected through a sequence of small courtyards, both protected and welcoming.
Architecten De Vylder Vinck Taillieu, PC CARITAS, Melle, Belgium, photos Filip Dujardin
Terrassenhaus Berlin / Lobe Block – Berlin, Germany
Offices: Brandlhuber+Emde, Burlon, and Muck Petzet Architekten
Terrassenhaus Berlin is a mixed-use building with two interesting elements. The first element is how external spaces have been maximized, thanks to a ziggurat-like design which allowed to create large terraces on each level and a public space on top of the building which can be reached through two long stairways. The second interesting point is the functional flexibility of the residential units, which only include central cores with elevators and bathrooms. Due to its stepped profile, the building contains units of different floor areas, from 26 square meters on the ground floor to 11 square meters on the top floor, as well as an art gallery, a co-working space, offices, a residence for artists, and workshops.
Brandlhuber+Emde, Burlon and Muck Petzet Architekten, Terrassenhaus Berlin / Lobe Block – Berlin, Germany, photos Erica Overmeer, David von Becker
Transformation of 530 dwellings – Grand Parc Bordeaux – Bordeaux, France
Offices: Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture
This is the renovation project of three 1960s residential blocks comprising 530 units in total.
The project’s aim was to improve the quality of life of the people living in each residential unit, maintaining their distinguishing features while at the same time adding new spaces when appropriate. A second facade with winter gardens and terraces was added to the old facade, thus expanding the size of the apartments and providing them with more daylight. The small windows of the old buildings were replaced by larger sliding doors opening onto the winter gardens. Another interesting aspect is that not a single resident was relocated during the renovation works, thanks to the modular prefabrication construction system adopted.
drawing: Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture
above and cover image:
Lacaton & Vassal architectes; Frédéric Druot Architecture and Christophe Hutin Architecture Transformation of 530 dwellings – Grand Parc Bordeaux, France. Photos Philippe Ruault
Plasencia Auditorium and Congress Centre – Plasencia, Spain
The Plasencia Auditorium, in the Extremadura region of Spain, was intended by selgascano as an opportunity to create a “protected island” within an urban expansion area. The small footprint of the ground floor of the building – which contains the auditorium’s stage and orchestra stalls – makes it look like an “alien” object gently landed on the ground.
The main entrance, located 17 meters above the ground floor level, can be reached through a panoramic footbridge which also provides spectacular views of the countryside and the Sierra de Gata mountains.
selgascano, Plasencia Auditorium and Congress Centre – Plasencia, Spain ; photos Iwan Baan
The 2019 edition of the Milan Furniture Fair pays tribute to the genius of Leonardo da Vinci in the 500th anniversary of his death.
Marco Balich, “AQUA. Leonardo’s Vision”, rendering.
During the celebrations to mark the 500th anniversary of the death of Leonardo da Vinci, the Salone del Mobile.Milano presents the installations “AQUA” and “DE-SIGNO”.
“AQUA” will celebrate the originality and visionary depth of the artist’s scientific studies, “DE-SIGNO” presents the experience of Italian design and craftsmanship, from the time of the great Master to the present day.
Leonardo da Vinci ; Codex Atlanticus ; Shower of projectiles and sketch of a horse ; stylus tip, black pencil, pen and ink ; c. 1503-04, Pinacoteca Ambrosiana, Milano. Photo Inexhibit.
Located at the “Conca dell’Incoronata” canal lock – where Leonardo is likely to have overseen the building work and designed the lock gates – “AQUA. Leonardo’s Vision” is a site-specific immersive experience conceived by Marco Balich and developed in partnership with Balich Worldwide Shows, which narrates a tiny fragment of the Renaissance and the future of Milan.
Marco Balich, “AQUA. Leonardo’s Vision”, axonometric view.
“DE-SIGNO” will be an immersive installation that will marry the languages of film and
theatrical scenography in an inclusive and exciting way. It will house a show of images and
music illustrating Leonardo’s approach to design and the industriousness of the Renaissance
laboratories as related to the know-how of present-day design companies. Conceived by Davide Rampello and designed by architect Alessandro Colombo, the installation will occupy a 400-square-meter space. It will feature a monumental set, dominated by two wood portals hand-made by master sculptors and painters and inspired by Donato Bramante’s original drawings and studies. The Installation “DE-SIGNO” will be on view in the Pavilion 24 at the Salone del Mobile.Milano.
Davide Rampello and Alessandro Colombo, “DE-SIGNO”, internal view.
5 th – 14th April
Conca dell’Incoronata, Via San Marco
10.00 am – 10.00 pm
9 th – 14th April
Pavilion 24 – Fiera Milano, Rho
9.30 am – 6.30 pm
Zaha Hadid Design has created three collections of vases for Rosenthal, the leading brand of ceramic objects for the home, which in its 140-year-long history has collaborated with artists and designers such as Salvador Dali, Andy Warhol, Walter Gropius, and Werner Panton.
The Lapp collection comprises a family of vases of different sizes in varying combinations of matt and gloss ceramic finishes. Informed by the motion of liquid droplets flowing along a solid surface, the design creates openings and voids that allow for many different flower arrangements at the top – as well as on the sides – of the vase.
Defined by the fluid lines of Zaha Hadid’s sketching hand, the Weave vases incorporate delicate strokes that interweave and diverge to express their interplay of fluidity and symmetry.
The Strip collection includes three sculptural vases and two bowls of different sizes. A sequence of vertical strips with rhythmical offsets, the Strip collection transitions their square base into a circular top edge.
Zaha Hadid Design, Weave vases for Rosenthal
Zaha Hadid Design, Lapp vases for Rosenthal
Zaha Hadid Design, Strip vases for Rosenthal.
Images: courtesy of Zaha Hadid Design
Cover: Zaha Hadid Design, sketch for Weave vases, Rosenthal.
Serpentine Galleries in collaboration with Google Arts & Culture, together with internationally acclaimed architect Sir David Adjaye, have launched Serpentine Augmented Architecture: a global open call for creative practitioners to design ground-breaking architectural structures to be developed and experienced in augmented reality on site at the Serpentine Galleries.
Without the constraints of a physical location, entrants are invited to dream new architectures and propose complex or unbuildable structures which imagine new futures of the city and the urban environment, imagining new possibilities for the urban landscape.
A two-stage process, a shortlist of projects will receive mentorship from experts in architecture, engineering and immersive technology to test the feasibility of their proposals.
One applicant will then be commissioned to realize their full design in augmented reality which the public will be able to experience in Summer 2019 installed alongside the internationally celebrated Serpentine Pavilion 2019.
World class advisors will guide the process, with a selection committee that includes:
Virgil Abloh, Artist & Designer; Sir David Adjaye OBE, Architect and Trustee of the
Serpentine Galleries; Amira Gad, Curator, Exhibitions & Architecture, Serpentine
Galleries; Freya Murray, Creative Lead, Google Arts & Culture Lab; Hans Ulrich Obrist,
Artistic Director, Serpentine Galleries; Yana Peel, CEO, Serpentine Galleries; Amit
Sood, Director, Google Arts & Culture; Ben Vickers, Chief Technology Officer,
Serpentine Galleries; Kay Watson, Digital Curator, Serpentine Galleries; Greg
Williams, Editor-in-Chief, WIRED UK.
For more information and to apply visit: augmentedarchitecture.org
Images © Cecilia Serafini
Fondazione Prada presents “Surrogati. Un amore ideale” (Surrogate. A Love Ideal), an exhibition curated by Melissa Harris, from 21 February to 22 July 2019 at the Osservatorio venue in Galleria Vittorio Emanuele II, Milan. (more…)
From March 1 to September 1, 2019, the Triennale di Milano presents its XII International Exhibition, titled “Broken Nature: Design Takes on Human Survival”. (more…)
From February 10 through May 27, 2019 the Museum of Modern Art in NYC presents the exhibition “The Value of Good Design”. (more…)
International design and innovation office CRA – Carlo Ratti Associati presents “GUIDO“, a concept for a driverless robotic cafe. (more…)
Until March 24, 2019, Palazzo Fortuny in Venice presents the exhibition “Futuruins”. Originating from a collaboration among the City of Venice, the Venice Museums Foundation and the State Hermitage Museum of Saint Petersburg the exhibition features over 250 works of art, from antiquity to the present. (more…)
In the next edition of Maison&Object Paris, the “Rising Talent Awards” looks eastwards, exploring China’s design scene. Following the success of the United Kingdom, Italy and Lebanon editions, China will showcase its Rising Talents at the Exhibition Centre – Paris Nord Villepinte, from 18 to 22 January 2019.
cover image: Mario Tsai, Pig Side Table
China’s burgeoning design scene reflects the country’s aim to become a global player in design, creativity and innovation. Life in today’s China moves quickly, and the design industry’s rapid development reflects wider society’s growth and progress. A decade of change is crafting a new Chinese aesthetic, with increasingly higher standards of professionalism and a renewed commitment to good craftsmanship, innovation and quality. This has impacted both how designers see themselves, and also how their work is viewed in China – and around the world.
The six personalities invited by MAISON&OBJET and DesignChain to sit on this year’s Rising Talents Selection Jury are: Neri&Hu, Luca Nichetto, Tom Dixon, LIU Xu, QU GuangCi, XING Tong-He.
This year’s selection process included five young designers selected by members of the Rising Talents Awards Jury, and one young designer selected via a Call For Entry.
Frank Chou, Chen Furong, Mario Tsai, Hongjie Yang, Ximi Li and Bentu rank as some of the brightest young design powers in the country today. Exemplifying talent, emotional depth and creativity, these six designers bring innovation and energy to their work. Some prefer a China-centric approach, others have absorbed multicultural influences by studying, working and living abroad. But all are committed to forming a new Chinese language of design.
Frank Chou – Growing up in China’s capital city, Frank Chou witnessed first-hand the dynamic changes afoot in his hometown over the past few decades. After graduating from Beijing Forest University, where he majored in Materials Science and Engineering, he travelled between China and Europe, accumulating international industry experience in furniture design, engineering and trade work. In 2012 he set up Frank Chou Design Studio, where he produces elegant, long-lasting, functional pieces which represent contemporary Chinese thinking, yet finely balance the needs of modern Oriental and future Oriental lifestyles.
Above: portrait of Frank Chou; the Middle chair, inspired by the traditional Chinese bamboo chair. Below: the modular Combo sofa.
Chen Furong – Founder of lighting, furniture and accessories brand WUU, Chen Furong designs timeless collections which blend handcrafted techniques with a modernist vision.
Born in Zhangzhou, he studied at the Shanghai Institute of Visual Arts, majoring in Integrated Design. After graduation in 2012, he travelled with some friends more than 10,000 kilometres across China, interviewing local creatives for an exhibition called Metaphysics.
Furong founded his Xiamen-based studio in 2014 and later that year participated in Homeland magazine’s Artisanship Revival program, where he worked closely with local craft artists in Fuzhou, combining technology with traditional crafts.
Above: Chen Furong’s portrait; Axis table. Below: T Lamp series.
Mario Tsai prefers to “use less, design better”. After graduating from Beijing Forest University where he majored in Furniture Design and Manufacturing, Mario travelled around China and Nepal to experience different lifestyles. He moved to Hangzhou in 2013 where he opened a shop and, in 2014, set up the Mario Tsai Studio. He has since worked with clients from China and Europe, and has participated in furniture fairs globally. Sustainability and material research are key; he is committed to reducing excess material usage and improving both society and the environment through his works which include the aluminium tube-inspired Pig Side Table and the thoughtful Pure Desk.
Mario Tsai’s portrait; Pig side table.
Hongjie Yang was born and raised in China. He went on to study in the USA and at the Design Academy Eindhoven, Netherlands, where he received his Master’s Degree in Contextual Design. After living and travelling abroad for the past 12 years, he is currently based in the Netherlands. His powerful works, which explore the divide between nature and culture, have been widely exhibited in many countries including in the USA, France, the Netherlands, Switzerland, Germany, Italy and China.
Above: portrait of Hongjie Yang ; Synthesis Monolith Coffee Table
Below: Synthesis Monolith Mirror
Ximi Li – Shanghai-based Ximi Li holds a Bachelor of Industrial Design from the China Academy of Art, Shanghai, and a Master’s Degree in Furniture Design from the Polytechnic University of Milan. He worked for leading designers Andrea Branzi and Luca Trazzi in Italy and, upon returning to Shanghai joined Neri & Hu, acting as Chief Designer for 6 years. In 2016 Ximi launched independent design studio Ximi Li and furniture brand URBANCRAFT.
Working to create timeless pieces that integrate East and West, Ximi is committed to global cultural fusion, quality and good craftsmanship. URBANCRAFT’s product lines include the award-winning stainless steel, leather and oak Jiazhuang (‘dowry’) dressing table inspired by the traditional Chinese jewellery box.
Above: Portrait of Ximi Li; Mirror Yuan. Below: Jiazhuang (‘dowry’) dressing table.
Bentu – Chen Xingyu founded design brand Bentu alongside Xu Gang, Peng Zeng and Chen Xingguang in 2011. Industrial Design graduate from Guangzhou University, Xingyu works to meet the problems raised by a rapidly developing society, recycling materials that others may deem waste – like coal cinder, construction waste and bone ash – and transforming them into furniture, lighting and accessories. His Guangzhou-based studio is known for experimentation, exploration and innovation, combining environmentally-friendly materials with commercial appeal, an approach which has won numerous awards, including a 2017 Red Dot Design Award. Bentu’s latest Terrazzo Collection recycles ceramic waste and also offers hope for a sustainable furniture industry in the city of Foshan, the world’s largest ceramic industry hub.
The collection looks to the original texture of terrazzo, and uses concrete, leftover stone aggregate and ceramic waste to make items like the Yuan Plantpot and the Tu and Planet Pendant Lamps.
Above: Portrait of Chen Xingyu; Planet Pendant lamps
Below: Pin, wall lamps.
Photos courtesy of Maison & Objet
“Swell“, the latest installation designed by Japanese design studio we+, is a magic which captures wind and light. (more…)
The European Commission and the Fundació Mies van der Rohe have announced the list of 383 works competing for the 2019 European Union Prize for Contemporary Architecture – Mies van der Rohe Award. (more…)
The Musée des Arts Décoratifs in Paris highlighs the richness of Japan’s contributions to art and design with an exhibition titled “Japon-Japonismes, 1867-2018”.
cover image: Sato Oki “Cabbage” Chair, Nendo Editions, Japan, 2008
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance
Open through March 3, 2019, the exhibition takes place as part of the “Japonismes 2018 : les âmes en resonance” program, which showcase the diversity of Japanese culture through nearly 100 venues in Paris and other locations in celebration of 160 years of diplomatic relations between the Government of Japan and the Government of France.
Visitors have the opportunity to admire nearly 1,500 works of art spanning a wide variety of artistic media, including art and design, fashion, graphic arts and photography.
Sou Fujimoto, acclaimed Japanese architect well known for his Serpentine Gallery Pavilion 2013 in London and the Musashino Art University Museum and Library in Tokyo, is responsible for the exhibition design, which extends over 2,200 m2 on three floors of the Rohan Wing.
“Japon-Japonismes, 1867-2018” presents the Musée de Arts Décoratifs’ collection of historic Japanese artworks – one of the most important in France – alongside Western Japanized creations.
The exhibition includes works by Hokusai, Emile Gallé, René Lalique, Kuramata Shiro, Charlotte Perriand and Tanaka Ikkō.
This exhibition is co-organized by the Musée des Arts Décoratifs and the Japan Foundation
Chiyogami — Decorated paper ,Japan,19 th century
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance
Issey Miyake, « Nihon buyo », Série n°1, Printemps / Été 2016
© Issey Miyake INC. / photo Francis Giacobetti
Charlotte Perriand — Bamboo chaise longue Japan, 1940
Musée des Arts Décoratifs © MAD Paris / Photo: Jean Tholance Adagp, Paris, 2018
from November 15, 2018 through March 3, 2019
MAD – Musée des Arts Décoratifs – Site Rivoli
107-111, rue de Rivoli, 75001 Paris
YAPE – autonomous electric vehicle for urban delivery, designed by Italian company e-Novia, has recently won the prestigious German Design Award 2019. (more…)
MAD Architects has been commissioned by the Droom en Daad Foundation to design a panoramic viewpoint on top of the historic Fenix warehouse in Rotterdam.
The site is on the Katendrecht peninsula, located on the southern banks in the port of Rotterdam, and was once home to one of the oldest Chinatowns in Europe. Around the 1900’s it was here that one could find opium kits, and that the first Chinese restaurant opened its doors in the Netherlands, and possibly in Europe.
In addition to the platform, MAD will design a theatrical staircase and a public atrium in the Fenix warehouse which will merge the ground and first floors with the observation deck on the roof.
In the future, the first floor of the Fenix warehouse – once one of the biggest warehouses in the world – will be used to present Rotterdam’s history of migration. Indeed, millions of migrants left Europe from these embankments, most of whom had Ellis Island as their final destination.
Ma Yansong, founder of MAD Architects: ‘We are proud to realize a dynamic transformation of the historical warehouse that will encourage people to move through the space, and be enjoyed by the community. It will lift body and mind, and be a place of pleasure and contemplation. The Fenix will inspire wonder and exploration about the past, the present, and the future.’
Wim Pijbes, director of the Droom en Daad foundation: ‘The Fenix Warehouse will become a landmark for all those millions who left Europe from the banks of the Maas, and for everybody arriving today. It offers a great future for Rotterdam’s past.’
Images: courtesy of MAD Architects
Cover image: Riccardo, Federica, and Gea dog visiting Arte Sella in Fall 2015
Arte Sella is an exceptional example of an open-air museum of the union of contemporary art and nature.
Located in a mountain valley, this sculpture park stretching 3 miles along a pine forest in the Trentino / South Tyrol region in Northern Italy is world-renowned for its outstanding and innovative vision of a contemporary art open to all, as well as for its thorough attention to the relationship between nature and humans (you find a link to our in-depth article about Arte Sella below).
Unfortunately, a recent calamitous event struck Sella Valley on October 29, 2018, destroying much of Arte Sella, its forest and its art park.
Maybe you’ll have the chance to visit this exceptional place of art and nature (an experience I warmly hope you can do once in your lifetime) or not, but, believe me, to support an organization committed to make art available art to all – families, children, singles -, and to raise attention to our natural environment, really needs our help.
An exceptionally violent storm destroyed almost half of the artworks in the art park, together with the entire forest on the South slope of Mount Armentera, Arte Sella’s brand new exhibition space opened in 2018, and the art garden of Villa Stroebe, thus leaving the institution in a bad financial situation, not to mention the sad psychological condition.
One of Arte Sella’s art installations destroyed by the October 2018 storm. Photo via Trento Today
I have visited Arte Sella three years ago and found there one of the most intriguing and captivating open-air art museums I have experienced in my entire life. I’m truly sad about how such a wonderful place could have suffered such a damage because of the climate change which is now hitting the previously pristine environment of the Italian Alps.
Inexhibit supports Arte Sella.
You can donate by PayPal or by bank transfer: IBAN: IT36W0810234401000041050846 – SWIFT: CCRTIT2T27A
Further information on how to donate are available at
Patrick Dougherty, Tana Libera Tutti, 2011- copyright Arte Sella – Photo Giacomo Bianchi
Until February 2019, the Louisiana Museum of Modern Art, in Denmark, hosts an exhibition dedicated to the Elemental Studio of Alejandro Aravena. This is the second of a series of monographic exhibitions of architecture entitled “The Architect’s Studio“. (more…)
Home Futures – at the Design Museum in London from 7 November 2018 – explores today’s home through the prism of yesterday’s imagination. (more…)
Originating from the collaboration between WeWork and BIG-Bjarke Ingels Studio, the first WeGrow school was recently opened in Manhattan. (more…)
The exhibition “LOW FORM. Imaginaries and Visions in the Age of Artificial Intelligence” takes place until 24 February 2019 at the MAXXI in Rome. (more…)
From October 10, 2018, through January 27, 2019, Barbican Art Gallery in London hosts the exhibition “Modern Couples: Art, Intimacy and the Avant-garde”. (more…)
Until January 2016, the Vitra Design Museum in Weil am Rhein presents the work of young Dutch designer Christien Meindertsma. (more…)
Zaha Hadid Architects have been selected by the jury of the international design competition to build the new Sverdlovsk Philharmonic Concert Hall in Yekaterinburg, Russia. (more…)
From October 6, 2018, the Triennale di Milano hosts a major exhibition dedicated to Achille Castiglioni, to celebrate the 100th anniversary of the birth of one of the greatest Italian designers of all time.
The CCCB – Center of Contemporary Culture of Barcelona – presents the exhibition “Stanley Kubrick“. Retracing the creative career of the great director (1928-1999), the exhibition starts from his formative years, develops through materials related to the 12 films and closes with projects that have remained incomplete or have been continued from other directors. (more…)
From September 23, 2018, through May 5, 2019, the Cloister of Bramante in Rome hosts Dream, an exhibition in which some of the most recognized contemporary artists explore the world of dreams.
The “Picasso Metamorphosis” exhibition – taking place at the Royal Palace – Palazzo Reale in Milan from October 18, 2018, through February 19, 2019 – explores the interest in mythology and ancient art the great Spanish artist developed during his long and complex creative process. (more…)
Until February 3, 2019, The Museum of Modern Art – MoMA in New York presents “Judson Dance Theater: The Work Is Never Done“, a major exhibition that looks anew at the formative moment in the1960s when a group of choreographers, visual artists, composers, and filmmakers made use of a local church to present groundbreaking cross-disciplinary performances. (more…)
From September 26, 2018, through January 20, 2019, the New Museum in New York City presents a great retrospective exhibition on acclaimed, provocative British artist Sarah Lucas. (more…)
This fall, the Museum of Contemporary Art Chicago presents West by Midwest, an exhibition tracing how artists with ties to the Midwest helped shape art and culture on the West Coast (more…)
As of 29 November 2018, thirty artworks will light up the city center of Amsterdam for the seventh year in a row. For this years’ edition of Amsterdam Light Festival artists, designers and architects from sixteen different countries share their interpretation of the central theme ‘The Medium is the Message’. All participating artworks will be lit simultaneously during the 53-day-long festival. There will be one exhibition – in the historical center of Amsterdam – which can be experienced in different ways: by boat, by bike or on foot. This year, for the very first time, visitors can vote for their favorite light artwork. The Public Award will be presented to the artist of the winning artwork in the last weekend of the festival. Amsterdam Light Festival can be enjoyed until 20 January 2019.
Cover image: artist’s impression of the lighting installation by Peter Koros Design at the 7th Amsterdam Light Festival
A selection of the participating artists and artworks:
Ivana Jelić and Pavle Petrović (Serbia) found inspiration for their work Starry Night in Van Gogh’s famous painting of the same name. Since the beginning of the 21st century, as a result of the increase in light pollution, starry nights are less and less visible in urban areas. With the installation Starry Night, the Serbian duo gives Amsterdam its (artificial) starry night back, which reminds us of what we are missing out on.
Groupe LAPS (France) produces movies and (multi)media installations and often integrates the urban surrounding into their work. Exclusively for the festival, the French artist collective designed Spider on the Bridge: eighty spiders of two meters each, which together form one gigantic spider on the bridge between the Herengracht and Amstel. Light effects give the illusion that the creatures are crawling all over each other. Arachnophobic visitors are warned!
Amigo & amigo (Australia) – also known as Renzo B. Larriviere and Simone Chua – explores the relationship between sculptures and light with their technically complex artworks. Parabolic Lightcloud is a cloud of light made with impressive colors, patterns, and transitions. With this installation, the duo tries to picture human emotions and stimulate visitors to think about the impact of external impulses on our feelings and instincts. Moreover: the installation consists of 1.000 led lights and 800 meters of rope made out of recycled plastic from discarded bottles.
OGE Group (Israel) is an expert on light art, the founders Merav Eitan and Gaston Zahr are the artistic directors of Jerusalem Light Festival. Their work is characterized by the powerful way in which it arouses emotions, with Light a Wish as a clear example of that. The artwork pictures the moment you blow the fluff off a dandelion and make a wish while it scatters in the air. Eitan and Zahr cherish this childhood memory by making the dandelions float above de Herengracht, where everyone can make a wish during the festival.
Balmond Studio (United Kingdom) has become a friend of the festival. The studio’s innovative artworks are inspired by science, math, and biology. With Optilli, Balmond Studio creates an optical illusion and shows the subjective way our brain processes light as a source of information. As soon as the light is converted into impulses, our brain produces an image. The question is: is the displayed image correct?
Light as a medium, and remarkable stories about Amsterdam
From hundreds of submitted concepts, the festival jury selected thirty artworks. This years’ exhibition revolves around the theme ‘The Medium is the Message‘, the famous statement by the Canadian scientist and philosopher Marshall McLuhan. The idea behind his statement was simple: the way we send a message is at least as important as the message itself. The participating artists focused on questions such as: what role does light play as a medium or a message? And how can light create spaces that would otherwise have remained invisible? The city of Amsterdam as a medium for telling stories is also a central part of this edition.
On behalf of the festival, art historian Koen Kleijn went in search of remarkable stories about the city and from October onward they will be released as a ten-part series on the festival website. In his stories, Kleijn identifies the connection between the city and the central theme.
Some of the lighting installations on show at the 7th Amsterdam Light Festival – previews
Light a Wish by OGE Group
Parabolic Lightcloud by amigo & amigo
Portam Civitatis by Peter Snijder
Spider on the bridge by Groupe LAPS
7th Amsterdam Light Festival
29 November 2018 | 20 January 2019
From October 10 to December 31, 2018, the Centre Pompidou in Paris presents a major retrospective exhibition on acclaimed Japanese architect Tadao Ando (b. 1941, Osaka). (more…)
The 2018 edition of LDF – London Design Festival runs in London from September 15 through 23, side by side with the second London Design Biennale which takes place at the Somerset House from September 4 through 23. (London Design Biennale 2018)
Also in the 2018 edition, LDF features a number of “landmark projects” – outdoor thematic installations placed in various locations across London. We present here three of them, that we deem particularly interesting.
From September 18 through 23, Trafalgar Square is the venue of “Please feed the Lions”, a multimedia installation conceived by artist and designer Es Devlin and made with the support of Google Arts & Culture.
The four bronze lions which, since 1867, guard Nelson’s Column, are joined by a fifth red-colored lion which interacts with the public. He does that by “roaring” words the public suggest him. During the day, such an ever-changing collective poem is displayed on a LED array installed in the lion’s mouth, while at night the words are projected both on the lion’s body and Nelson’s Column.
above and cover image: Es Devlin, Please feed the Lions, Trafalgar Square.
From September 15 through October 1, 2018, the newly-restored Sackler Courtyard of the Victoria & Albert Museum accommodates MultiPly, a temporary pavilion which presents two major problems of our time: housing crisis and climate change. MultiPly, consisting of re-usable walls made from 60 cubic meters of American Tulipwood, is an installation open to the public and an example of modular architecture. The project has been developed by American Hardwood Export Council, Waugh Thistleton Architects, and Arup.
The pavilion is made up of 17 modules composed of 102 cross-laminated timber (CLT) and a number of joints manufactured by the Construction Scotland Innovation Center (CSIC). Cross-laminated timber is an engineered wood which can be used also for the load-bearing structure of buildings. The panels consist of a number of wood layers, perpendicular to one another, and can be used to create high-resistance prefabricated walls with about a 30% reduction in construction times compared to traditional methods.
above: Waugh Thistleton Architects, MultiPly, V&A Museum.
Finsbury Avenue Square is the location of Alphabet. The installation, designed by London-based graphic design office Kellenberger-White, consist of twenty-six chairs, each shaped as a letter of the alphabet, which people can sit on freely. The project, made with the support of British Land, was inspired by the experimental work of László Moholy-Nagy, Marianne Brandt, Wilhelm Wagenfeld, Max Bill, and Hans Gugelot, as well as by projects by Bruno Munari such as ‘Seeking Comfort in an Uncomfortable Chair’ (1944). The colors of the chairs were chosen from the palette of paints used for industrial metalwork, such as the “International Orange” used for the Golden Gate Bridge in San Francisco and the “Cornflower Blue” of the Middlesbrough’s Transporter Bridge.
Above: Kellenberger-White, Alphabet, Finsbury Avenue Square.
London Design Festival
London,15 / 23 September, 2018
International design practice CRA-Carlo Ratti Associati is working with Indian non-profit organization WeRise to develop Livingboard, the prototype of a portable “motherboard system” to improve housing conditions in rural parts of India.
Livingboard encourages an open-source approach to design, allowing people to build their own dwellings on top of a prefabricated core.
The project revolves around the idea that housing should not be a static unit that is packaged and handed over to people, but rather should be conceived of as an ongoing project wherein the residents are co-creators. The first pilot is currently under study for development in the Indian state of Karnataka, near Bangalore.
Livingboard is a flexible “core” system to support the development of housing initiatives in any rural area of the world. This core must be positioned horizontally, constituting the floor of a 12-square meter room (3 x 4 m). It can provide, depending on the geography and infrastructure of the region in question, water storage and distribution, water treatment through filtration, waste management, heating, batteries to accumulate PVgenerated electricity and wi-fi connectivity. Also, from a structural point of view, it provides seismic isolation by separating the building’s superstructure from the substructure.
As Livingboard is compatible with different house designs, locals can build their homes on top of it, selecting from the motherboard’s basic functions and deciding on the housing structure to go around it in accordance with their needs and desires. Livingboard aims to become the focal point of domestic space, around which the house’s inhabitants can gather, cook, wash and read.
A project by CRA-Carlo Ratti Associati for WeRise
CRA team: Carlo Ratti, Giovanni de Niederhausern, Saverio Panata, Emma Greer (Project Manager), Chiara Morandini (Project Lead), Anna Morani.
Renderings by CRA graphic team: Gary di Silvio, Gianluca Zimbardi, Pasquale Milieri
Images courtesy of CRA – Carlo Ratti Associati
The historical Teatro Sociale Como opens its doors to the public on the occasion of the first Lake Como Design Fair: a new event bringing together the works of Italian and international designers, editors and galleries. (more…)
From September 5, 2018, through February 3, 2019, a major retrospective exhibition on Marc Chagall takes place in Mantua, northern Italy. (more…)
With the exhibition “Tutto Ponti, Gio Ponti archi-designer” the Musée des Arts Décoratifs in Paris celebrates one of the most influential Italian architects and designers of the 20th century.
A multifaceted personality – an architect and designer with an artistic background, and also a long-time director of Domus magazine – after World War Two, Ponti combines international-style design with a personal approach based on a maniacal attention to product quality.
Furniture, textiles, ceramics, coffee machines, and flatware are just some products Gio Ponti conceived as a designer. A designer particularly attentive to craftsmanship at a time in which making a product through a non-industrialized process was considered obsolete.
“Tutto Ponti, Gio Ponti archi-designer” covers Ponti’s entire career, from 1921 to 1978, presenting his manifold work – from buildings to product design, from pieces of furniture to light fixtures, from his research in the design of glass objects, pottery, and jewelry.
Over 500 pieces, some of which have never been previously exhibited, are featured in a multidisciplinary voyage across architecture, design, and installations. The exhibition has been designed by architects Wilmotte & Associés in collaboration with graphic designer Italo Lupi.
above and cover: Gio Ponti, Superleggera 699, Cassina, 1957 © Archivio Gio Ponti.
Arguably the most famous furniture designed by Ponti, the Superleggera chair, summarizes his approach aimed to combine modernity with materials and influences inherited from the traditional “middle class” furniture. Based on one of the most appreciated examples of “vernacular” Italian furniture – the Chiavari chair of Ligurian craftsmanship tradition, the Superleggera has been produced for over sixty years.
Gio Ponti and Giulia Ponti, Via Dezza, 1957, © Archivio Gio Ponti. The Ponti House in Milan’s via Dezza was Gio Ponti’s home in his later years. Designed by Gio Ponti, Antonio Fornaroli, and Alberto Rosselli, this house encapsulates the architect’s vision of modern housing together with its architectural innovations.
Gio Ponti, Tableware for Franco Pozzi, 1967, © Marco Arosio.
TUTTO PONTI, GIO PONTI ARCHI-DESIGNER
Musée des Arts Décoratifs
107, rue de Rivoli, 75001 Paris
October 19, 2018 – February 10, 2019
The 96,000 m2 office development for the state-owned Shenzhen Energy Company is designed to look and feel at home in the cultural and business center of Shenzhen while standing out as a new social and sustainable landmark at the main axis of the city. (more…)
If you will be in the French Riviera this August, we strongly suggest you pay a visit to Saint Paul de Vence. (more…)
After the huge success of the first edition, in 2016, the second London Design Biennale promises to be one of the most exciting cultural events in London in fall 2018. (more…)
Designed by Spanish architect Carme Pinós, the MPavilion 2018 will be installed in Melbourne’s Queen Victoria Gardens from October 8, 2018, through February 3, 2019. (more…)
Zürich: the new Kunsthaus designed by David Chipperfield Architects is fast becoming a reality. The completion of the shell, in July 2018, reveals the full dimensions and proportions of the building. (more…)
Running from July 14 through October 28, 2018, the 10th edition of Liverpool Biennial – entitled Beautiful world, where are you? – invites artists and audiences to reflect on a world in social, political and economic turmoil.
The title Beautiful world, where are you? comes from a poem by Friedrich Schiller (in German, Schöne Welt, wo bist du?) published in 1788, and thereafter set to music by Franz Schubert in 1819.
The period between the composition of Schiller’s poem and Schubert’s song saw great upheaval and profound change in Europe, from the French Revolution to the fall of the Napoleonic Empire.
Today, the poem continues to reflect a world gripped by deep uncertainty. It can be seen as a lament but also as an invitation to reconsider our past, advancing a new sense of beauty that can be shared in a more equitable way.
The curatorial team of Liverpool Biennial 2018, led by Kitty Scott and Sally Tallant, asked over 40 artists from 22 countries to present works that respond to the call Beautiful world, where are you?
Featured artists comprise Madiha Aijaz, Abbas Akhavan, Morehshin Allahyari, Francis Alÿs, Ei Arakawa, Kevin Beasley, Mohamed Bourouissa, Banu Cennetoğlu, Shannon Ebner, Paul Elliman, Inci Eviner, Aslan Gaisumov, Ryan Gander with Jamie Clark, Phoebe Edwards, Tianna Mehta, Maisie Williams and Joshua Yates, Joseph Grigely, Dale Harding, Holly Hendry, Lamia Joreige, Brian Jungen, Janice Kerbel, Duane Linklater, Mae-ling Lokko, Taus Makhacheva, Ari Benjamin Meyers, Naeem Mohaiemen, Paulina Olowska, George Osodi, Silke Otto-Knapp, Mathias Poledna, Annie Pootoogook, Reetu Sattar, Suki Seokyeong Kang, Iacopo Seri, Melanie Smith, The Serving Library, Agnès Varda, Joyce Wieland, Haegue Yang, Chou Yu-Cheng, and Rehana Zaman.
Kevin Beasley, Your face is/is not enough, 2016. Image courtesy the artist, Casey Kaplan, New York and The Renaissance Society at the University of Chicago. Photo: Tom Van Eynde
Agnès Varda, Ulysse (film still), 1982. Image courtesy the artist
Chou Yu-Cheng, Chemical Gilding, Keep Calm, Galvanise, Pray, Gradient, Ashes, Manifestation, Unequal, Dissatisfaction, Capitalise, Incense Burner, Survival, Agitation, Hit, Day Light, 2015. Installation view at Kunstlerhaus Bethanien, Berlin. Image courtesy of the artist
The city of Liverpool provides the setting, comprising 21 venues – public spaces, galleries, museums and civic buildings – including Blackburne House, Bluecoat, FACT, Liverpool John Moores University’s Exhibition Research Lab, Open Eye Gallery, the Oratory, the Playhouse theater, RIBA North, Tate Liverpool, and Victoria Gallery & Museum (University of Liverpool).
Along with exhibitions and special art commissions, the program of the Liverpool Biennial 2018 includes talks, live performances, public discussions and roundtables, film screenings, and guided tours.
Liverpool Biennial 2018
July 14 – October 28, 2018
Liverpool, UK, various venues
The Bluecoat; photo Inexhibit
The Tale Liverpool; photo Infinite3d
A new space has been set up at the Vitra Campus in Weil am Rhein. It’s a Black Box aimed to showcase the collection of toy robots donated by the chairman emeritus of Vitra, Rolf Fehlbaum. (more…)
As it happened in 2016, also during this year’s edition of the Venice Architecture Biennale the European Cultural Center presents the Time Space Existence exhibition (more…)
We present here the award-winning installations of FAV – Festival des Architectures Vives 2018, which took place in Montpellier and was visited by over 18,000 people. (more…)
Entitled London Mastaba, a new sculptural installation by Christo is now afloat on Hyde Park’s Serpentine Lake. (more…)
To design a museum’s new gallery, by setting up an exhibition layout coherent with its content, means to put into practice strategies aimed to improve the way the visitors experience an artwork or an ensemble of artworks. (more…)
The exhibition “The Limits to Growth!” – on view at the CID, Centre d’innovation et du design in Belgium, from July 1 to October 21, 2018 – presents critical works by artists and designers which unveil, in some cases humorously, the flaws of the mass production system that dominates the society to which we all belong.
Products and prototypes on view all share a design approach focused on simple manufacturing, material recycling, local production, refusal of planned obsolescence, and new economic paradigms, thus demonstrating that it is possible to experiment production processes more environmental and resource friendly.
Audrey Bigot, Valentin Martineau, Antoine Pateau e Yoann Vandendriessche, Biceps cultivatus, Kitchen low tech, © Biceps Cultivatus
ECAL/Damien Ludi, Colin Peillex, “Rocking-Knit” © ECAL © Nicolas Genta
Thomas Billas, How To Make It Without Ikea © Thomas Billas
“The Limits to Growth”
CID – Centre d’innovation et du design / Grand-Hornu
Rue Sainte-Louise, 82 – 7301 Hornu – Belgium
July 1 / October 21, 2018
Mexican architect Frida Escobedo has been commissioned to design the Serpentine Pavilion 2018. Born in Mexico City, in 1979, Escobedo is the 18th and youngest architect yet to accept the invitation to design a temporary Pavilion on the Serpentine Gallery lawn in Kensington Gardens. This commission, which began in 2000 with Zaha Hadid, has presented the first UK structures of some of the biggest names in international architecture.
Escobedo’s Pavilion is an enclosed courtyard comprised of two rectangular volumes positioned at an angle. While the outer walls are aligned with the Serpentine Gallery’s eastern façade, the axis of the internal courtyard are aligned directly to the north. Internal courtyards are a common feature of Mexican domestic architecture, and the Pavilion’s pivoted axis refers to the Prime Meridian, which was established in 1851 at Greenwich and became the global standard marker of time and geographical distance.
British-made materials are used in the Pavilion’s construction, chosen for their dark colours and textured surfaces.
above and cover image: Serpentine Pavilion 2018, designed by Frida Escobedo, Serpentine Gallery, London (15 June – 7 October 2018) © Frida Escobedo, Taller de Arquitectura, Photography © 2018 Iwan Baan
A celosia – a traditional breeze wall common to Mexican architecture – is composed of a lattice of cement roof tiles that diffuse the view out into the park, transforming it into a vibrant blur of greens and blues. Two reflecting elements emphasise the movement of light and shadow inside the Pavilion over the course of the day. The underside of the canopy is clad with mirrored panels, and a triangular pool cast into the Pavilion floor will trace its boundary directly beneath the edge of the roof, along the north axis of the Meridian. As the sun moves across the sky, reflected and refracted by these features, visitors may feel a heightened awareness of time spent in play, improvisation and contemplation over the summer months.
Escobedo’s prize-winning work in urban reactivation ranges from housing and community centres to hotels and galleries. In 2006, she founded her practice in Mexico City, with significant national projects including the Librería del Fondo Octavio Paz and an extension of La Tallera Siqueiros gallery in Cuernavaca. Her designs have featured at the Venice Architecture Biennale (2012 and 2014), the Lisbon Architecture Triennale (2013), and in San Francisco, London and New York. Recent projects include Stanford University’s Graduate School of Business and social housing projects in Guerrero and Saltillo, Mexico. She lectures nationally and internationally, and has won multiple awards and accolades.
Frida Escobedo, Photography: Cuauhtemoc García
Sponsored by Goldman Sachs The Serpentine Pavilion 2018 will once again be a platform for Park Nights, the Serpentine’s annual programme of experimental and interdisciplinary evenings on selected Fridays. Practitioners in the fields of art, architecture, music, film, theory and dance will be commissioned to create new, site-specific works in response to Escobedo’s design, offering unique ways of experiencing architecture and performance, sponsored by COS.
The Serpentine Pavilion 2018 will be open from 15 June every day from 10am to 6pm.
“Hide & Seek” by Jennifer Newsom and Tom Carruthers of ‘Dream The Combine’, in collaboration with Clayton Binkley of ARUP, has been named the winner of The Museum of Modern Art and MoMA PS1’s annual Young Architects Program.
cover: Jennifer Newsom, Tom Carruthers (Dream The Combine), “Hide & Seek” , rendering.
Opening in June 2018, this year’s construction is a responsive, kinetic environment that features nine intersecting elements arrayed across the entirety of the MoMA PS1 courtyard. Drawn from among five finalists, “Hide & Seek” will serve as a temporary urban landscape for the 21st season of Warm Up, MoMA PS1’s outdoor music series, and remain on view through the summer.
Inspired by the crowd, the street, and the jostle of relationships found in the contemporary city, “Hide & Seek” enables surprising connections throughout the adjoining courtyards of MoMA PS1 and the surrounding streets.
Each of the horizontal structures contains two inward-facing, gimbaled mirrors suspended from a frame. The mirrors move in the wind or with human touch, permitting dislocating views and unique spatial relationships across the space that foster unexpected interactions.
As the vanishing points disappear into the depths of the mirrors, the illusion of space expands beyond the physical boundaries of the Museum and bends into new forms, creating visual connections within the courtyard and onto the streets outside. In reference to these unpredictable gestures, the upper registers of the steel structure will be filled with a cloud of mist and light, responding to the activity and life of Warm Up at night. Scriptive elements, including a runway and a large-scale hammock, invite visitors into performance and establish platforms for improvisation.
“Hide & Seek”, stills from video.
Design: Jennifer Newsom and Tom Carruthers of Dream The Combine in collaboration with Clayton Binkley of ARUP
Structural Engineering: Clayton Binkley and Kristen Strobel, ARUP
Project Team: Max Ouellette-Howitz, Nero He, Tom Vogel, Emmy Tong, and Erik Grinde, with support from UMN School of Architecture
Lighting Consultant: Yuliya Savelyeva, ARUP
Mist Consultant: Urs Hildebrand, THEFOGSYSTEM
Donation-in-Kind of canopy fabric: Hunter Douglas
Fabrication: Jacobsson Carruthers
Video production: Isaac Gale
Photography: Caylon Hackwith
Images courtesy of MoMA PS1 http://momaps1.org/
Acclaimed Danish-Icelandic artist and designer Olafur Eliasson has conceived and produced a portable photovoltaic lamp aimed to bring a sustainable light source to African communities that still have no access to electricity. (more…)
Organized every year by MAISON&OBJET, the ‘Rising Talents Awards‘ is a platform for promoting young designers by giving them a chance to exhibit their work for an audience of international professionals. For the upcoming edition – to be held at the ‘Parc des Expositions’, Paris Nord Villepinte, from 7 to 11 September, 2018 – it is now Lebanon’s turn to present its talents.
cover: Paola Sakr, “Impermanence vases”, Collection of seven concrete vases made of abandoned pieces and material scraps, photo courtesy of Paola Sakr.
Marc Baroud, designer and member of the selection jury says: “The essential characteristic of design in Lebanon is the multiplicity of its influences. There is no cultural standard, no industrial heritage, and therefore no ‘ideology’ on function, whether formalized or otherwise. It is a great liberty …”
Unconstrained by the weight of industrial tradition, designers have however been able to rely on an immense wealth of artisanal crafts. Hala Mubarak – main promoter of the first Beirut Design Fair – put in: “Ancestral crafts that have been passed on through generations giving life to contemporary designs have put the Lebanese creative community in the spotlight. Refined aesthetics, clean lines, and a taste for noble materials are the main features that have allowed Lebanese design to start forming an identity.”
Carlo Massoud, Marc Dibeh, Carla Baz, Anastasia Nysten, Caramel Studio and Paola Sakr: these are the names chosen by the Jury members of the ‘Rising Talents Awards’ to represent the future of Lebanese design. A new generation that have followed in their elders’ footsteps by putting their international experience to the service of local, usually little-known manufacturing techniques.
Caramel Studio – Karl Chucri and Rami Boushdid met when they were both studying interior design at the Lebanese Academy of Fine Arts in Beirut. After earning their master’s degrees – from IED Madrid for Karl and from Politecnico di Milano for Rami –, they met again in Lebanon and founded Studio Caramel in 2016. Their personal experiences in various architecture firms have influenced their approach to furniture design. Mirage music box, similarly to other pieces in their collection, suggests a nostalgia for the 1950s featuring vintage details and historical references. Image: Mirage music box, photo courtesy of Caramel Studio
Paola Sakr – Trained as a designer – she studied product design at the Lebanese Academy of Fine Arts – Paola Sakr also engages with various other creative disciplines, from photography to art. This multidisciplinary approach has allowed her to satisfy her passion for innovation as well as to cultivate curiosity as the main source of inspiration of her work. Image: “Impermanence vases”, Collection of 7 concrete vases made of abandoned pieces and material scraps, photo courtesy of Paola Sakr. website: http://www.paolasakr.design/
Carla Baz – Half-French, half-Lebanese, Carla Baz started studying at ESAG Penninghen in Paris, before she went on to earn a Master’s in Product Design for the Luxury Industry in 2010 from ECAL Lausanne, where she met many designers, including Fernando Campana and Ronan Bouroullec. In London, she completed her training by joining Zaha Hadid Architects and subsequently decided to start her solo career, an initiative that was soon rewarded by the Boghossian Foundation. Image: Borgia Candelabra product by Bonadea. Photo © Bonadea; website: http://www.carlabaz.com
Anastasia Nisten – Born in Ottawa, Canada, Anastasia Nysten grew up in Finland, France and Lebanon. She chose Lebanon to pursue her degree in Industrial Design at the Lebanese Academy of Fine Arts, and later to start her career with Karen Chekerdjian. After three years in London, where she worked with Michael Anastassiades, she established her own studio in 2015. Today, working from Beirut and Dubai, Anastasia expresses her multicultural background through her designs, both for furniture and interiors. image: Troll chair, courtesy of Anastasia Nisten; website: http://anastasianysten.com/
Marc Dibeh – After studying at the École Nationale Supérieure de Paris Val De Seine, Marc Dibeh returned to Beirut to pursue a Master’s in Product Design at the Lebanese Academy of Fine Arts. After a three-year experience working alongside Marc Baroud, Marc opened his own studio in 2009. Today, the two designers still regularly collaborate, most notably on Dibeh’s Wires series, which took him to DesignMiami in 2013. Featured in institutions such as Gallery S. Bensimon in Paris and Seeds London Gallery, his work skilfully plays on the notion of narrative, as exemplified by the five mirrors from his Please, Don’t Tell Mom range, specially designed for the Art Factum Gallery. Image: Camille Cake Stand, from ‘a narrative selection of stolen products’ ; photo © Marco Pinarelli. Website: http://marcdibeh.com/
Carlo Massoud After graduating from the Lebanese Academy of Fine Arts and ECAL Lausanne, Carlo Massoud moved to New York, where he joined Nasser Nakib Architect to oversee bespoke furniture design for the firm’s high-end residential projects. His career as an independent designer, (started in 2014), is based on an artistic approach, with projects that fluctuate between functional design and artistic installation, usually incorporating social and political messages. Image: Mar Mikhayel, photo © Filippo Bamberghi.
Parc des Expositions, Paris Nord Villepinte,
7 / 11 September, 2018
We present here a video interview with renowned Japanese-American architect Toshiko Mori (born in Kobe in 1951), made by our media partner PLANE-SITE, together with the GAA Foundation and the European Cultural Center in preparation for the ‘Time – Space – Existence’ exhibition running at Palazzo Mora, Palazzo Bembo, and Giardini della Marinaressa during the 2018 Venice Architecture Biennale. (more…)
Huara means “star” in the Aymaran language. The Aymara people live in Bolivia and Peru in the Acatama desert, widely considered one of the areas with the darkest skies in the world and where you can see more stars than anywhere else on earth.
Cover image: close-up view of the Huara lamp on show at the Milan Design Week 2018; photo © Inexhibit
A fascinating peculiarity that inspired Elemental ‘s partners – Pritker Prize winner Alejandro Aravena, Gonzalo Arteaga, Juan Cerda, Victor Oddó, and Diego Torres – in designing a new lamp for Artemide, a prototype of which was recently unveiled during the 2018 Milan Design Week.
Coherently with its main source of inspiration, a star, the shape of Huara approximates that of a sphere.
Combining mankind’s long standing fascination with starlight with cutting-edge technology, Huara is a mysterious polyhedron whose faces light up, activated by touch, thus revealing its complex, regular geometry.
As Elemental says: “The appearance of electrical power at the turn of the last century started a technological development that irrespective of the scientific principle employed to produce light (incandescent, fluorescent or metal halides), made any other source of energy almost disappear. The next step in the production of light came with the development of Light Emitting Diodes (LED). For the first time, light shifted from the electrical realm to the field of electronics. But for some reason such revolutionary step has not permeated society; people look for lights and lamps in the white goods section, not in the electronics section. Our project for Artemide is about integrating the first and the last moment in the history of light: celestial spheres with electronics. On the one hand we want light to vary its intensity and direction according to phases more than moving pieces of a mechanism. On the other hand, we want to acknowledge the fact that the future of light is electronic, not electric. The distinctive potential of electronics is its capacity to carry information that allow for multiple ways of interaction, such as a tactile screen.”
What is most interesting with Huara is the multiple ways it can be used, as well as the natural and simple gestures required to turn it on and off. Since it has neither a base nor a predefined orientation, the lamp can be freely positioned and rotated; it is both a luminous and a lighting object whose light can be directed towards a wall or an horizontal plane. Made in plastic and aluminum, the Huara lamp is 30 cm / 12 inches in diameter and features nineteen LEDs.
Huara lamp by Elemental for Artemide; photos © Inexhibit
Images, courtesy of Artemide, which show the polyhedric geometry of the lamp (similar to that of a deltahedron) and how its touch dimmer system works
A sequence of graphic panels and photographs illustrating concept, principles, and use of the lamp; photos © Inexhibit
Photos © Inexhibit
Cooper Hewitt, Smithsonian Design Museum, presents “The Senses: Design Beyond Vision”. The exhibition, on view through October 28, examines how multisensory design amplifies everyone’s ability to receive information, explore the world, satisfy essential needs and experience joy and wonder. (more…)
From 25 April through 26 August 2018, the Stedelijk Museum Amsterdam presents the exhibition ‘Studio Drift – Coded Nature’.
During the upcoming Milan Design Week (17 to 22 April, 2018) the INHABITS event – which will be set up between Piazza Castello and Parco Sempione – presents mobile living units and light structures for business, hospitality, wellness, and catering. (more…)
The acclaimed design office MAD Architects led by Chinese architect Ma Yansong has created a fascinating temporary installation for German automobile maker Audi at Milan Design Week 2018. (more…)
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