Jeg har samlet sammen en rekke flotte spisestuer til inspirasjon. Fellesnevneren er fargerike innslag og moderne møbler. Gjerne i kombinasjon med noe gammelt og/eller personlig. Bra stil med andre ord

I disse spisestuene finner man alt fra Arne Jacobsens syvern, Eames DSR side chair til Ghost fra Kartell.

Jeg og mannen min deler (til min store frustrasjon) ikke entusiasmen for Kartell. Etter å ha prøvd å argumentere for både Bourgie lampen og Louis Ghost stolen hadde jeg gitt opp. Interiørshopping til huset har blitt vår nye lørdagssyssel, under et House of Oslo besøk kom vi over en Kartell variant (Mr. Imposible) som jeg såvidt fikk presset igjennom. Hurra! Den kommer til å ta seg godt ut i gangen

During my work week I upload new design inspiration photos to an album on my facebook account. Thus far it’s been mostly furniture and product design, but I’m thinking I will branch out into architecture inspiration in the very near future. Stay tuned! Today’s pick was the lovely and luxurious slow chair. I’ll take mine in pink.
Designed by: Ronan and Erwan Bouroullec
For: Vitra

Please share your design picks with me as well!

]]> http://lojaouvidor.wordpress.com/2009/11/11/cafe-nextel/ Wed, 11 Nov 2009 21:06:36 +0000 Clarisse Ilgenfritz http://lojaouvidor.wordpress.com/2009/11/11/cafe-nextel/

CASA COR CEARÁ 2009.
Ambiente de Odete Aragão.

Design minimalista, linhas puras e simples. Elementos minuciosamente escolhidos, criando um espaço harmonioso e requintado. A elegância proposta na criação está traduzida pelo preto, como destaque e também como contraponto ao branco e ao bege. O mobiliário que ambienta o espaço foi cuidadosamente escolhido, com peças que proporcionam uma variação cromática e formal equilibrada. 

Cadeira Louis Ghost, da Kartell, por Philippe Starck. O conceito do barroco revisitado surpreende e fascina: é o mais corajoso exemplo de injeção de policarbonato em um único molde. É extremamente resistente e empilhável até 6 peças. Na cor preta ou transparente e cristalina.

Mesa Top Top, da Kartell, por Philippe Starck. Pode vir com tampo quadrado ou arredondado, em poliéster laqueado polido e com base em alumínio cromado. A perna central transparente confere leveza enquanto a superfície facetada a torna refinada e elegante.

Estante Ouriço, dos designers Graça Kazan e Luis Mário. As proporções elegantes impressionam pela robustez apesar da aparência leve. É fabricado a partir de madeira certificada.

A luminária Dear Ingo, do designer Ron Gilad, é fabricada pela holandesa Moooi. São 16 luminárias articuladas que podem ser posicionadas de acordo com as necessidades de iluminação.

Ao fundo, a mesa de centro Pallet, do designer Guilherme Torres. Inspirada em palletes de empilhadeiras. Em primeiro plano está o Cubo Optic, da Kartell, por Patrick Jouin. As faces recortadas em polimetilmetacrilato criam um efeito ótico de impacto, seja com a superfície espelhada ou transparente.

Poltrona O-Nest, da Moroso, pelo designer Tord Boontje. Poltrona injetada em polietileno rotacional, com uma estampa de flores na parte externa.

Luminária de teto Random Light, da Moooi, por Bertjan Pot. O designer holandês tevou três anos para desenvolver a técnica de construção desta luminária.

A Chaise Barroco, da Estúdio Ouvidor, traz conforto e calor ao ambiente, fazendo um interessante contraponto com os outros estilos.

CASA COR 2009.
Ambiente de Paulo André Salles.

A suíte, extremamente confortável, é pontuada por móveis contemporâneos, cadeiras de design arrojado e peças antigas. Moderníssima, tem a praticidade da automação em todo espaço. Transparências e vãos amplos dão sensação de liberdade e continuidade entre suíte, closet e sala de banho, proporcionando o máximo de amplidão e bem estar.

Aparador Kron, de Sergio Fahrer. Estrutura de alumínio com pintura automotiva e tampo de couro. Uma das vantagens da matéria-prima é justamente proporcionar um design delgado. Detalhe: as pernas do aparador podem vir em diferentes modelos.

Bancada Artigas, dos designers Flavio Borsato e Mauricio Lamosa. A peça, de grande leveza, é uma homenagem do Estúdio Bola a João Batista Vilanova Artigas, um dos principais nomes da história da arquitetura de São Paulo. Versátil, esta bancada pode vir com divisor de acrílico, porta cds ou porta dvds.

Poltrona Antibod, de Patricia Urquiola para Moroso. Base em aço inox, assento em espuma de poliuretano, revestimento em tecido com dobras em feltro, remetendo a flores. Peça de surpreendente sensibilidade, com o toque de feminilidade característico da premiada designer.

Cadeira Mr. Impossible, dos designers Philippe Starck & Eugeni Quitllet, para Kartell. Síntese do design mais refinado e da tecnologia mais avançada, esta cadeira nasceu da idéia – aparentemente impossível – de unir duas estruturas ovais em policarbonato sem usar cola. Envolvente e confortável, a Mr. Impossible parece “flutuar” no ar. Já falamos aqui no Ouvidoria sobre esta peça fantástica.

Estante Home Town, de Flavio Borsato e Mauricio Lamosa. O Conceito das estantes Home Town é exatamente criar uma “cidade vertical” com módulos de formas, dimensões e volumes diferenciados.

Poltrona Jacob, de André Bastos e Guilherme Leite. Uma versão compacta do conforto, com design único, moderno e atual.

Mesa de apoio Fetiche, dos designers André Bastos e Guilherme Leite. Produzida em material acrílico espelhado, esta mesa foi inspirada na sensualidade. A fita de veludo lembra um corselete. Releitura pop do retrô e do barroco, em material atualíssimo.

Na almofada, Algodão Althea dourado, da Emporio Beraldin. 100% algodão, com cores e texturas que compõem com singularidade os mais requintados ambientes. No travesseiro, Seda Terni Creme. O tecido em 100% seda é sempre associado ao luxo e ao poder. De fato, sua beleza tem o poder de encantar nossos sentidos. No forro da cabeceira, Linho Gravatá Natural. Muito além do conforto e elegância, o linho também oferece durabilidade e resistência. Antialérgico, permite também uma enorme variedade de tratamentos, que nenhum outro tecido natural suporta. E, revestindo a parede, Linho Marine Bordado. Bordados e com acabamentos especiais, os linhos estão invadindo os ambientes e deixando–os cada vez mais sofisticados. Favorece a acústica do espaço.

Cortina em Organza de seda pura. Levissima, é a melhor opção na busca pela transparência e delicadeza. A sensação é de flutuar ao observarmos esta cortina. Compondo com Linho Lurex Cobre. Atualmente o linho é desenvolvido a partir de novas tecnologias: o mais antigo material do mundo permanece na vanguarda da indústria têxtil. É também a mais ecológica das fibras.

Bloggeren i fra Lahell, skrev et inspirerende innlegg “Grønt er skjønt” og la samtidig ut en liten utfordring til resten av “blogglandia”. Den lyder som følger:

Urban Retro- Rød * Hokusfiliokus-Blå * Kardemomme- Lilla

Jeg har prøvd meg på “Hokusfiliokus-Blå”, hvilken tar du?

Skåler og boller er fra Ikea, eggholderen er fra Alessi, kjøkkenhåndkle fra Åhlens, bordet fra Hay og lampen fra Kartell.

Fauteuil Louis Ghost la touche personnelle du designer Philippe Starck.

Le designer Philippe Starck revisite le style Louis XV avec le fauteuil Louis Ghost de la marque Italienne Kartell. Réalisé en polycarbonate transparent ou coloré, cette adaptation ne peut que nous étonner, nous émouvoir, nous fasciner. L’apparente fragilité de ce fauteuil design contraste avec la robustesse du matériau utilisé, il résiste aux chocs, aux griffures…

Det er mye fint å få i plast og fiberglass Eierne av denne leiligheten er glade i sterke farger, retrostil og plastikk møbler. Verner Panton er godt representert, Fl/y fra Kartell er også på plass.

Morsomt hjem? Kunne du hatt det sånn hjemme?

Foto: Flickr

Er stolen Louis Ghost fra Kartell, jeg digger den. Stolen er lett, elegant, moderne og gammeldags på samme tid. Har seks stykker som leter etter et nytt spisebord

…darf die Deutsche Bank per Kartell nicht die Sal.Oppenheim übernehmen!

“Too big to fail” wird “noch bigger”! Die “never ending story” der scheinbar schwererziehbaren Managements großer Unternehmen im Finance-Sektor…:

Wir erinnern uns an Fakten:

a) Auch die Deutsche Bank hat indirekte Staatsgelder in der Nutzung.
b) Im Quartalsbericht 2/ 09 weist die Deutsche Bank nach der Wirtschaftskrise wieder einen Gewinn von über 750 Mio € aus. Heute legt sie mit dem aktuellen Bericht noch einen drauf.
c) Wenn es nun um einen Lastenausgleich zum Bankenrettungsschirm ginge, wäre auch die Deutsche Bank mit dran.
d) Die Übernahme der Sal.Oppenheim kostet der DB über 1 Mrd € und “verfälscht” somit das Jahresergebnis in der Bilanz.

Fragen:
1. Werden die Kartellbeauftragten entsprechende Pläne durchqueren?
2. Ist die neue Regierung schnell genug, parallel zu handeln?
3. Wollen wir wirklich dabei zusehen, wie hier der Steuerzahler wieder geschickt hops genommen wird?

PS – Eine Bank soll im Allgemeinen für einen gesunden Geldfluss sorgen, so die Aufgabe dieser stellenweise zweifelhaften Institute. Vergessen dürfen wir bei all der “Verteidigung dieserart mutierter Philosophien” rund um den allgemeinen Wettbewerbsdruck nicht, dass ein Geldinstitut im Interbankengeschäft – unabhängig jeglicher Größe – Gelder bei der EZB zu einem “fixen Preis” einkauft…

Nachtrag: Unabhängig von unmittelbaren Auswirkungen auf die strittigen Boni-Zahlungen, fährt die Aktie der Deutschen Bank an der Börse aktuell Achterbahn. Wir meinen, dies geschieht zurecht und hoffen auf die Vernunft aller derzeitig aktiven Anleger…

Wir freuen uns über Ihre Bewertung und ggf. einen aktiven Blog-Austausch!

Når jeg kommer over noe bra, er det hyggelig å dele på informasjonen. En av mine favoritt nettbutikker, Euklides, skal kvitte seg med en del utstillingsmodeller. De selger ut produkter som Kant barstol fra Karim Rashid og Louis Ghost stoler fra Kartell ++ Opptil 50 % rabatt på enkelte varer, check it out!

Foto: www

Die EU-Ermittler vermuten unerlaubte Preisabsprachen unter Generikaherstellern und haben auch die Geschäftsräume von Sandoz durchsucht. Von Novartis/Sandoz gab es bisher keine weiteren Details.

After a huge whittling down of my possessions, including the donation of about 80% of my books to the local library–a move that months before would’ve hurt my heart, but today I wouldn’t think twice about–there few things I still covet like pens, telephones, records and lamps. Trust me, I’ll lust over the first two in later posts and maybe if you’re lucky talk about the years I’ve dedicated to collecting every piece of wax Minnie Riperton ever lended her voice to, but today, I really want to gush over workspace lighting in the form of the lamps we use to light those spaces when natural light is not enough or isn’t available.

The lamp you use on your desk, if you use one at all, isn’t always there to give us better light to work by. I think that lamps also serve as a further expression of who we are through what seems like a practical means. I mean, the two lamps I have on my desk, the Script lamp in Mandarin from CB2 and a $14 white metal lamp I picked up from a nearby Targét when all the dorm stuff was on sale this summer, are practical, stylish and match the design aesthetic that I was going for. It never occurred to me to think about how much light each would provide. I just so happened to luck out in that respect.

I think lamps also give us a certain sense of comfort as may be the case with the lamp in White House Deputy Chief of Staff Mona Sutphen’s office (see below). Even I picked up my white Targét lamp because it reminded me of an old school reading lamp I spotted sitting on a child’s bedside table in the movie Doubt. I’m pretty sure that on the nights that that little boy was most afraid of a storm raging outside his window or of one raging between his parents, turning on that white lamp made him feel a little less frightened.

I also think that a lot of our office furnishings and supplies give people glimpses into who we are, even if you don’t consciously intend them to. For instance, take the paper clips you use everyday. Either you’re practical and use the regular silver metal paper clips or you prefer your paper clips with more zhuzh and go out of your way to purchase the colorful striped kind or the bourgie gold-plated ones. Then again, it could be that you just don’t care what kind of paper clip adorns the stack of memos on your desk, but you do care enough about what pens you use and drive 20 minutes out of your way to purchase a fresh box of Pilot Varsity fountain pens every six months. See, there’s always something.

But we’re here to talk about lamps, not paper binding or disposable fountain pens. That said, here’s a list of the top 5 lamps I lust over. N.B.: I have no clue how much light each produces, but they look great. Damn my vanity!

1. Nesso, $353 by Artemide (www.artemide.us). I’ve been coveting this mushroom-inspired lamp for a few years now, and it’s been featured everywhere from the pages of dwell to Mode magazine editor Daniel Meade’s office on Ugly Betty. The Thermoplastic beaut comes in orange and white.

2. Twiggy XL, $1,347.00 by Foscarini. Available in four shades Bianco (white), Nero (black), Giallo (yellow), and Rosso (red), this lamp is the most expensive of the bunch. Hey, my mom always said I had champagne taste on a Kool-Aid budget. The Twiggy XL is made of composite lacquered material on a fiber glass base. Other than that, I don’t know much about this lamp and never see it in designs probably because of its price point. It looks good, though.

3. Script, sale, $29.95 by CB2 (www.cb2.com). I guess CB2 keeps it’s products so exclusive by discontinuing them, but the Script is now only available in white. At least it’s on sale. Earlier this summer, I bought this lamp in mandarin and thought it too tall, but I soon got used to the height since it spreads more light over the desk top. The only downfall is that the switch is on the cord, but I’m always reaching down to turn off the surge protector under my desk, so turning it off an on is not always an aggravating task.

4. Bourgie, $365 by Kartell (www.kartell.it). I know, $365 for what amounts to a plastic lamp, but come on, this thing is so shiny and weirdly baroque, I couldn’t dare pass it up. When it was first released, it was available in clear and black polycarbonate, but now there are gold and white versions. The lamps can be assembled at three different heights–68, 73, and 78 centimeters (in inches: H 26.5”, 28.5”, or 30.4” x W 14.4”). While the Bourgie might be too pretty for a desk, it’s just right for some extra sparkle on a landing strip.

5. The lamp on White House Deputy Chief of Staff Mona Sutphen’s desk, unknown. I have no idea who makes it, how much it costs, or what it’s made out of (it’s possibly ceramic), but I really like this lamp. I don’t always think that putting the type of lighting that looks best suited for your grandmother’s end table is a great idea, but it injects some sort of personality into Ms. Sutphen’s otherwise boring West Wing office. It also seems like it’d be a great conversation piece as I’m sure a lot of folks ask her why she stole it from a relative’s living room. J/k.

Ferruccio Lavianni é um arquiteto e designer italiano nascido em 1960 na cidade de Cremona. Licenciado em arquitetura pelo Instituto Politécnico de Milão trabalha com design de móveis e acessórios e desde 1991 tem um estúdio próprio. O uso de cores e formas é uma característica marcante de seu trabalho. As lâmpadas Cindy foram projetadas por Ferruccio para a Kartell, marca com a qual tem uma parceria há mais de quinze anos, e custam 123 libras cada. Com influência nítida da década de 70, tanto pelas cores quanto pela forma, as luminárias encantam e quando acesas refletem a luz por todas as superfícies. De acordo com o designer sua inspiração para criar essas e outras maravilhas vem de músicas, viagens e pessoas.

Para quem quiser saber mais sobre Ferruccio Lavianni pode ler uma matéria (em português) aqui.

Para comprar a Cindy entrem aqui.

‘Unique’ and ‘Funky’ dining solutions from Arredo

Luxury online interiors specialist, Arredo, is pleased to announce the arrival of a truly inspirational dining set for the contemporary home.

With the intent to wow even the most style savvy of consumers, the arrangement above shows the ‘Unique’ dining table surrounded by a collection of ‘Funky’ chairs.

As its name suggests, the ‘Unique’ table stands out from the crowd, drawing attention at every angle. It uses a perfectly smooth ellipse form and brushed spider legs to create a sleek, en-vogue aesthetic that will enhance any modern room set.

Ideal for entertaining, the ‘Unique’ table measures 110cm wide x 73cm high and features two foldable ends with extension plates to produce a length between 164 and 378cm. It is available in several finishes; White and Zebra Lacquer, Walnut Veneer, Black Stained Ash and costs £852 including VAT.

‘Funky’ chairs are the prefect complement to minimalist form of ‘Unique’. Abstract in their design, they add an element of fun to the composition using Chrome sledge legs, a web inspired back and a black faux leather seat. Available in an array of colour options including Black and White Lacquer, Oak and Walnut Veneer as well as White High Gloss, the ‘Funky’ chair is priced from £132.

Tonight I had the chance to listen to Piero Lissoni speak as part of the month-long Architecture and the City Festival put on by the San Francisco chapter of the AIA.  Speaking at the gorgeous CCA campus, Lissoni proved to be as charismatic, affable, honest and genuine as he is talented.  While I knew him well for his work with Italian furniture lines Boffi, Living Divani, Porro, and Cassina, only until he casually mentioned his other clients did I realize the true reach of his work, which includes projects for just about every blue-chip Italian furniture company like Kartell, Alessi, Flos, Cappellini, Poltrona Frau, Glas Italia, Fritz Hansen, Knoll, and Swarowski.  OMG.  In my mind he was already a legend based on the body of work that I knew about, but when I learned about everything else that he did, I was truly blown away.  In sports speak, he’s a first-ballot Hall of Famer on par with a Starck or Newson, if not above.

As Lissoni’s lecture began, I wasn’t sure what to expect.  Outwardly, he looked the part of designer: navy sportcoat with elbow patches, slim taupe jeans, brown driving mocs, and cream scarf.  On the stage, he had a continuous, looping portfolio of his work on the big projection screen while he was seated and speaking at a folding 6 foot table filled with various objects including an analog clock radio, Mac Powerbook, printed books, Japanese rice bowl, wind-up robot, Alessi coffee press, foam model of a recent building he designed in Istambul, and even a red foam clown’s nose (more on that later).  These would be the props that he used throughout his lecture, which was going to be about his “humanistic” approach to designing, apparently a last minute departure from his pre-planned retrospective of his work (which probably would not nearly have been as enlightening as his new topic, to our luck).

I have to admit that it took more than a few minutes before I could make enough sense of his Italian accent, broken English, and sense humor to concentrate on the content and intent of his speech.  As his lecture wore on (for more than 2.5 hours) and his anecdotes and examples began to amass, his genius began to come through in spades.  What was muddy for me about his humanistic approach became crystal clear – and then enlightening.  While it would be hard to replicate Lissoni’s career path and success, there are plenty of nuggets to take away from his lecture that you or I can learn from.

Unfortunately, the lecture was not recorded nor could I record it or take notes real-time.  So the following quotes, excerpts, points, and facts are purely based on my recollection (and my mad dash to takes notes right his lecture).  If anyone in attendance tonight has anything to add or clarify, please join in on the conversation!  In no particular order, here were the highlights:

• His working relationship with Alessi began with an hours-long conversation with Alberto Alessi about wine before Alberto finally brought up the idea of designing a watch, which Lissoni agreed to on the spot and without additional conversation.  He called his wine conversation his design “brief.”
• His Alessi coffee press project was aimed to take on Bialetti’s venerable, classic coffee press, which he said was like challenging Pele to a soccer match – “It was a good game.”
• On the ergonomics of his furniture: “Of course it’s uncomfortable, I’m Italian!”
• On his favorite materials to use: he has none and all are specific to each project.  He said “Materials are the language of every project” and that he never chooses to use a material just to use it.
• He is currently designing a bridge using carbon fiber
• He once worked with Kartell for more than two years to develop a new manufacturing technology for a chair, which ended up saving more than a kilogram of raw materials per chair.
• His desk at his office is a 3 meters by 3 meters and covered with books and objects.  He only works on a small 2 foot by 2 foot area on his desk, and only cleans his desk when the other things on his desk begin to intrude on this space (about every 2 months).
• He cannot work unless he has espresso, bottled water and fresh flowers everyday.
• He disallows computers in his meetings.
• His office has 3 libraries, one each for design, architecture/furniture and classics (poetry, novels, etc.).  He said if his employees are not using all three then they are not right for his firm.
• His puts on a red foam clown nose when he feels his meetings are getting too serious.
• He says we are all “prostitutes” – “People pay and we do.”
• He calls his clients his “victims.”
• On what makes Italian designers the best in the world: their great clients.  He said he is always late to meetings, often shows up empty-handed, often is late with deliverables, and that clients either love him or hate him.  His Italian clients clearly love him – and he quips “Could you imagine if I worked with Japanese or German clients?”
• He says working with engineers is his biggest nightmare.
• He thinks “It is impossible to live without technology” but that technology should only be used as a “tool.”  If it’s is used as the sole way to design, then it is wrong and “dangerous.”  He believes that working with your hands is still an essential part of the design process.  He says people often show him beautiful images on a screen but they often have no life.
• He started designing as a child, first using Legos.  He still thinks like a child but “only on a different scale.”
• He called his design school “hell” compared to the ones today (like CCA).  He said they had limited tools but were challenged to stay “curious” – his advice to design students today.
• His approach to designing architecture is different from his approach with products – “There is so much noise out there, I design my buildings to be quiet.”  He also uses a “European approach” to architecture projects where he designs the exterior plus everything in the interior down to the cabinet pulls.
• Asked if he’s designed a perfect thing: no, and he doesn’t strive for perfection because it’s “boring.”  But he does strive for greater precision in design and greater control over the process.  His example for the need for greater precision – a private home renovation where his budget of 1 became a 10 in reality.
• His examples of perfection: the work on Antonio Citterio, the work of Carlo Scarpa, a dinner by Alain Ducasse, Church of San Giorgio Maggiore in Venice by architect Andrea Palladio, the Barcelona Pavilion by architect Mies van der Rohe.
• The one thing he has not designed that he dreams about: a daughter.  He said with designing materials things “anything is possible” but it is things like life, a family, a daughter that are a real challenge to design.
• On what makes him happy: “Of course, I like the girls.”

There not much more to say or translate as I think his humanistic approach is pretty clear, at least to me.  While we can’t all be Lissoni or work the same way that he does (wouldn’t it be nice to go over budget 10 times and still have a job or demand fresh flowers at your desk everyday), I know that there are things I am taking away from his lecture that will make me a better designer.

Image courtesy of baunetz.de

Es ist bestimmt eine dieser Seiten, die es schon ewig gibt, aber wir haben The Design Vote gerade erst entdeckt.

Das Konzept ist bemerkenswert einfach, und wir haben sogar ein paar Stimmen abgegeben.

Obwohl die Anzahl abgegebener Stimmen darauf hindeutet, dass sie etwas weniger Traffic als Google haben, war es sehr befriedigend zu sehen, dass einige Objekte, die wir gehasst haben, für die aber viele Kollegen geworben haben, von den Kritikern auf The Design Vote in Grund und Boden gestimmt wurden.

Ein wenig Spaß, aber auch die Chance, ein paar Objekte zu finden, von denen man vorher nichts wusste.

Das Thema heute ist  LCP Chaise von Marten Van Severen für Kartell

LCP Chaise von Maarten Van Severen für Kartell

Det finnes velge mange kule barstoler å velge blant for tiden. Jeg ønsker meg to stykker som skal få plass rundt kjøkkenøya. Har egentlig tenkt de skal være nokså diskre, størrelsesmessig, men de må gjerne få være fageklatter.

Liker veldig godt Tokyo Pop fra Driade og Heep stool fra Hay. Eller hva med Karim Rashids koncord fra Slide eller Spoon fra Kartell?

Foto: Produsentenes hjemmesider og Stardust

Kartell-dilla som jeg har, liker jeg også godt fargerike og morsomme Frilly Chair. Patricia Urquiola ønsket å lage en praktisk stol som ga inntrykk av plissert stoff på stolryggene. Flott eller hva?