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.

Titter du altfor sjeldent opp på stjernehimmelen? Denne lampen er desinget av en matematikkprofessor og heter “The Raimond is a sphere”. Led lampen er produsert av Moooi.

Foto: Moooi

Posted via web from Ines yet again

En av mine favoritt lamper er den delikate og florlette Random Light fra Moooi. Den er fryktelig dyr, men sånn er det med god design Men Skeidar har laget en Random Light kopi til en 1/10 av prisen.

Dyrt? Moooi Random Light: 10 000 ++

Billig: Skeidar: 899,-.

Er du skikkelig fingernem og elsker DIY? Da kan du lage en selv. Den flotte bloggen Pickles viser deg hvordan. Hennes variant heter Bare surr lampen

Brave New World Lamp, Freshwest Design> at Moooi

Soft Wood Sofa, Front Design» at Moroso

(the sofa is upholstered in a wood grain fabric)

What do you think is the deeper meaning of this trend of wrapping things up? 

“Carbon Chair” by Bertjan Pot and Marcel Wanders

“Balloona Stool” by Natalie Kruch for Umbra

Ottoman by Tham & Videgård Hansson

This room is cool alright, but besides the Moooi Horse Lamp (mentioned in an earlier post), it just needs this hanging lamp suspended from above and the checkered table on the right side of that biomorphic-ish chair at the right-hand side of the photo. 

OK – call me mad, but ditch the existing lamp on the desk at left of photo and replace with this Moooi Rabbit Lamp – that would finish things off magnificently. 

Cool study – it just needs the Moooi Horse Lamp.

Injecting a sense of humour, or at least a sense of fantasy, into design is a perilous business. For every person who loves a colourful Alessi espresso cup, there is another who feels like offering violence when presented with a grinning corkscrew or any other kitchen draw item that comes day in, day out with a personality and punchline. In the last few years there’s been a new movement taking place at the more adventurous and higher end of the design pitch, one that does embrace wit, but which has been looking to the anti-disciplines of classical surrealism to fashion inventive and radical pieces. It’s a movement that has developed in tandem with the way in which the furniture editions market has caught up with the fine art market, and developed a parallel kudos. These aren’t items to fill with salt and pepper, or to grate cheese with. These are grand, investment, showcase pieces. These are objects that, surface functionality aside, are unique and special, like any great work of art.

You can physically sit on Fredrikson Stallard’s Pyrenees Sofa, a foam and steel structure that resembles an Alpine landscape, but a POA limited edition piece like this is unlikely to ever be troubled by a human bottom, even if its designers, Ian Stallard and Patrik Fredrikson, have a fantasy of seeing Jerry Hall splayed across it.

London-based partnership Stallard and Fredrikson are at the forefront of the surrealist movement in high-end design. ‘Form following function is so yesteryear!’ says Patrik Fredrikson. ‘It is a boring and imprisoning term. Any “law” like this backfires against creativity.’ The duo’s work, shown by the David Gill gallery at October’s DesignArt fair in London, has also been at the focus of the ‘art or design?’ debate. It is beginning to seem more and more of a moot point: Gill launched his gallery in the 80s with furniture by the conceptual artist Donald Judd, while the very name of DesignArt London suggests a collapsing of boundaries. ‘A new futurism’ is how Francis Sultana, the director of the Gill gallery describes it, often with a surreal or even disturbing tendency, such as Fredrikson Stallard’s urethane rug, The Lovers, which resembles two pools of intermingled blood, each containing the precise volume of liquid tissue held by the human body. ‘It would be amazing to see that piece in a monastery or convent,’ says Ian Stallard. ‘Though it would be equally exciting to see it in an elegant apartment on 5^th Avenue.’

Much of what Fredrikson Stallard are doing taps into notions of pure sensation as well as the surreal: Their Rubber Table makes no sound when you place a glass on it, while Unit Number 4 is a coffee table made from solid ice. While that may be taking surrealism to the extreme, as much as a clothes iron with nails jutting out from its ironing surface, it’s no less arresting than Dutch avant garde interior company Moooi’s life size Horse Lamp, designed by Front in 2006, or any of Studio Job’s oversized Alice in Wonderland  white gold mosaic pixel tea service pieces which were rapturously received at last year’s Salone di Mobile in Milan. The pieces were surreal in scale, but in a very modern way: ‘If these objects were scaled down to their conventional sizes, the pixels would create the illusion of smooth silver surfaces,’ explains Nynke Tynagel of Studio Job. Rather like Margiela’s playful upsizing of doll’s clothes to adult size, Studio Job’s ‘eat me… drink me’ aesthetic says something about the unfettered imagination of childhood, and our place in the world of logic and scale. In the editions market, there are also practical concerns too. As the celebrated author and design critic Alice Rawsthorn says: ‘Big equals better… you can see that you are getting more for your money’. Equally, there’s no confusing an unusably gargantuan item – with the exception of perhaps Marcel Wanders’ cartoon-huge lamps which, no matter how much space they take up, still act as a light source – with a functional item, and a form that doesn’t follow function has to be interpreted as art, or at least as an extravagance in the same way that wearing a pristine white Chanel coat with a pencil skirt and perilous high heels suggests that you don’t get the bus.

Linked in with the seductive exclusivity and collectibility of the new wave of surrealist furniture is the notion of craft. Designers are reacting against mass-produced flat packed furniture by prototyping pieces that necessitate more care and attention from the human hand. The designer Hella Jongerius produces a range of what she calls ‘unique plates’, with animal figures in their centre. Each one is unique and is intended to ‘place greater emphasis on the manufacturers handcrafted products and to show the numerous steps involved in finishing a product.’ Her Props collection for Vitra last year consisted of simplistic looking vessels and spoons that had sprouted ears and wings. ‘They are a hybrid of functional product and a character from the fantasy world of animals fables,’ she explained.

In summer 2009 the V&A in London is showing Telling Tales, a collection of work by furniture and product designers split into three sections: The Forest Glade, The Enchanted Castle and Heaven and Hell. The exhibition will be a showcase not only of furniture that falls into the design art category by having a narrative and an inherent complexity that prices it way out of Heals and Habitat, but of the surreal tendency in design today. Studio Job will feature, as will Maarten Baas, who in the past has had shows based around antique furniture that he has burnt and charred, and whose ‘Hey, chair, be a bookshelf!’ is an assemblage of items subverting their function: A lampshade became a vase, a violin became a coat rack, etc.

Not all surrealist edition work is entirely avant garde in nature. David Linley is a designer whose work often has an edge to it (he has produced one-off couches with tribal-style slashes across the leather), but is more at home in plush, moneyed Mayfair than in East London lofts. His Time Table, produced in an edition of 20, is a wonderfully classic piece that is also classically surrealist. Like much of his work it is tasteful and, finished in rosewood, it has the air of the establishment about it. The acrylic clock dial set into its top surface is, however, quietly subversive – is this a table or a time piece? Can a form follow more than one function? No matter what your take on the surrealist trend in furniture, it’s certainly displaying a level of accomplishment and style that is in a different league from the world’s superfluous inane kitchen gizmos and jokey Mr Suicide bathtub plugs.

Der niederländische Produzent Moooi war an einer der ersten Stellen auf meinem “Wunschzettel”, als ich meine Reise hierher geplant hatte, und ich wurde nicht enttäuscht. Neue Kreationen, wie etwa die Eurolanterns von Moooi works oder die Lolita-Lampen von Nika Zupanc zeigen deutlich, warum Moooi heutzutage eine der kreativsten Firmen auf dem Markt ist.

Eurolanterns von moooi works für moooi

Já que começamos o Ouvidoria com um tema “explosivo”, vamos agora falar um pouquinho sobre a Smoke Line. Uma linha de móveis que ultrapassa qualquer definição… enfim, uma linha que ultrapassa.

Com a Smoke Line, a marca holandesa moooi desconstrói a madeira e cria efeitos avassaladores. Mais do que móveis, são verdadeiras obras de arte do seu criador, Marteen Baas.

“O jovem designer holandês Maarten Baas pertence a uma nova geração de designers cujo trabalho envolve customizar itens de mobiliário já existentes ao invés de inventá-los do nada. Baas se apropria e transforma os objetos em madeira que encontra, refazendo-os com sua assinatura técnica, queimando-os com um lança-chamas e tratando-os posteriormente com resinas e epoxi para resistência e durabilidade.” Fonte: Casa Contemporânea

A Smoke Chair perturba. Pela imponência. Pela contradição. Vê-la já é uma experiência interessante. Mas tocá-la, sentar nela, é uma verdadeira viagem. Que vale a pena ser feita. E que pode ser feita na loja Ouvidor Interiores.

Moooi Chandeliers at IOS, originally uploaded by miamism.

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(Kristina) Frustandes som en häst eftersom jag var bedövad i hela snoken tog Hugo och jag en nöjestripp till Ikea. Men med tanke på dagens väder var det fler som tänkt samma tanke. Vi fick iallafall med oss ett par plastbackar att fylla med Hugos leksaker och ett par klämlampor till landet.

Och så fick jag syn på den magnifika maskrosen, taklampan för IKEA PS- kollektionen i design av Marcus Arvonen. Påminner i tanken om Mooois Dandelion men i mer naturtrogen variant. Och så mycket billigare förstås. Om jag bara hade någonstans att hänga den…

IKEA PS Maskros

Moooi Dandelion

The latest from moooi and Royal Delft at £600.

Kete by David Turnbridge

The Top 5 Lamps from the smow design spring. In no particular order.

Kete by David Turnbridge. One of the first lamps we saw in Milan, and probably that which left the greatest impression on us. And not merely on account of its size. For us the principle beauty of Kete is the atmosphere it can create in a room with it 7W LED element. And despite their overproprtionality Kete doesn’t domiante the room. Honest. Kete. Anything but dull.

moooi.

Beachballs by TOBYhouse at designersblock, Milan

Beach Ball Lamps by TOBYhouse. When we first saw Beach Ball Lamps we thought they were made from shaped aluminium. So stable and rigid are they. Only after entering into converstaion with designer Toby Sanders did we discover that they are real beach balls. And that was when the product became magic. That was the moment when we realised and appreciated just what a product we had before us. And that was the moment when we started to investiagte more carefully. Through a specialy developed process TOBYhouse coat the inside of the balls with a thin polyeurethene coat, before cutting the bottom open and rounding the edges. And with it’s brillant white interior Beach Ball Lamps offers an excellent illumination. Beach Balls Lamps. Anything but dull.

moooi.

Flatline by Jason Brugges for Established and Sons

Flatliner by Jason Bruge for Established and Sons. We don’t own an iPod which is probably why we took a couple of minutes to get the hang of the control system. Had it been based on an MD player we would have got the hang of it much quicker. However, once up and running we were in awe of Jason Bruge’s genial dimming system. And the quality of the illumination generated is every bit as convincing. If you don’t know what were talking about, check out our (smow)tube video. Flatliner. Anything but dull.

moooi.

Fiss Family by My Own Super Studio

Fiss Family by myownsuperstudio. DMY in Berlin was full of lamps. We’re not exactly sure why but we’re fairly certain it had something to do with students being set lamp design as part of their final year project. A sort of conspiracy among product and industrial design lecturers to make earth shine more brightly than the sun. Fiss Family by Portugese outfit myownsuperstudio wouldn’t have been much help in such a plot, but was without doubt one of the finest lamp ranges we saw this spring. For us the beauty lies in the fact that the light flows downwards; consequently, they don’t produce the brightest illumination, but that which they do produce is amongst the softest we saw this spring and certainly the best intended for a living room or office when you want a gentle background light or constant, atmospheric illumination. Fiss Family. Anything but dull.

moooi.

Spin by Tom Dixon

Spin by Tom Dixon. Not a lamp in the popular, modern electrified sense. But then were not sticklers for convention. Correctly used candles can offer a better, more positive illuminaton than their modern cousins. The trick is the “correctly used” part. With Spin Tom Dixon offers a wonderfully stylish opportunity not only to illuminate a space as we want it, but also to change the illumination as and when required. Spin. Anything but dull.

And a special mention goes to moooi for their Horse Lamp.

Eames Lounge Chair by Vitra - The classic view of furniture as an heirloom ...

Our (smow)twitter recently brought our attention to an article at worldchanging.com about what the author termed “Heirloom Design“

In the article Adele Peters discusses sustainability, durability and for all “What makes something worthy of passing down through generations?”

Peters decides that the future monetary value, the usefulness and sentimentality play a role; somewhat bizarrely in respect of sentimentality , she states: “…designers can aim to create products that inspire emotional responses.” Sentimentality is of course never something a designer can aim to achieve, rather is something abstract that develops through the nature of the relationship you have with an individual product. But more on that later.

... however, Mr Impossible by Phillipe Starck for Kartell, is also a product that can be enjoyed for generations

For us, however, the main point that Adele Peters misses in her highly readable article is that “Heirloom Design” isn’t “new”; rather, it has always existed.

In the past designing and constructing furniture to have a eternal life span and to be kept within a family for generations was normal. However, in the fast moving consumer culture that has overtaken The North since Thatcher freed us from guilt we’ve kind of all lost sight of that a little. And at this juncture you’ll forgive us if we don’t discuss the role of everyone’s favourite Swedish producer, but you get the drift. And because we’ve forgotten that one can pass furniture on to the next generation “Heirloom Design” can be presented as a “new meme”.

AC 4 by Antonio Citterio for Vitra - 54% recycled and 95% recycable

However for producers such as Vitra, USM Haller or Moormann and their designers, creating products with a long life span is part of the normal product development process. As we have often stated, and will probably never tire of repeating, with, for example, the Eames chairs from Vitra or the complete system USM Haller elements, practically every component can be replaced if required. They are truly articles that once bought will outlast the owner and the owners children. And which will be used every day by all.

Just far too many people think that designer furniture is expensive and that to buy a product that will last more than four months involves an investment beyond the average mortal soul.

Random Light by Bertjan Pot for moooi

In her book “Antiques of the future” – we hate the title by the way, but enjoy the project – Lisa S. Roberts presents her collection of items she believes will increase in value in the future. Included in the collection are products such as Algue by Ronan and Erwan Bouroullec for Vitra, Louis Ghost Armchair by Philippe Starck for Kartell or Random Light by Bertjan Pot for moooi. These are not especially expensive products, nor are they products that in all honesty are likely to increase greatly in monetary value.

They are, however, every day items that you would use and interact with, without even necessarily noticing them. And because of this they are items with which you develop a bond and which through their function and familiarity become part of your identity and as such something that you want to pass on the next generation, just as much as your Rolex watch, Mont Blanc Pen or Gangsta Lean record storage units. That’s the sentimentality that Peters’ means and that has nothing to do with the Bouroullec’s or Philippe Starck, rather us. The designers just make the relationship possible. (For more on Philippe Starck’s own assesment of his role in such check out our (smow)tube video)

214 from Thonet, also an heirloom if looked after properly

And the wonderful part is that because they are well made, high quality products whose development was painstakingly undertaken and in many cases where whole new production processes had to be developed just to create the goods – you can pass them on. And your kids will also be able to pass them on. And their kids. And theirs … ad infinitum.

And that without lumbering the future generations with an unpayable debt.

Designer clothing is all about the designers name, art is all about the artists name, designer furniture, however, is about products created to fulfill a function. OK one or the other designer can afford to buy a couple of pair of shoes and is occasionally photographed at a star-studded party.

But the designers name isn’t just the brand much more it is the guarantee of quality.

And so we say a hearty yes to “Heirloom Design” but lets not call it such, the PR monkeys take up enough of our time, lets call it simply “designer furniture“

Na Casa Cor 2009 o designer de interiores Francisco Cálio apostou, com êxito, em um item lindamente inusitado para compor seu ambiente: A Horse Lamp, uma luminária em forma de cavalo com dimensões bem generosas. Ela foi criada pelo Group Front Design – um grupo de designers suecas e é comercializada desde 2006 pela Moooi, uma empresa holandesa coordenada por Marcel Wanders. A luminária faz parte de uma coleção de “bichos-coisa” composta por um “abajur coelho” e uma “mesinha lateral porco”.

A Horse Lamp é vendida on-line por valores que giram em torno de $7000.

Quem quiser conhecer o site das designers da Group Front Design, pode conhecer aqui.

Quem quiser comprar a luminária pode comprar aqui (com desconto) e aqui.

(Lembrando que vocês devem verificar a segurança de qualquer site antes de efetuar uma compra)

Quem tiver vontade pode conhecer a Moooi (bonito em holandês com um “o” a mais) aqui.

A selection from the Vitra catalogue in the smow system USM Haller sideboard
(Photo Christin Bargel)

It must be a summer thing. Not only are our newspapers and magazines full of authors recommending their chums books, but first design observer portrayed their reading tips and then design sojourn brought out their “30 Essential Books for Industrial Designers”

Obviously the design world is planning downing tools and spending the long hot summer that awaits us reading.

Which is fine by us.

For, in addition to supplying designer furniture, we at smow also stock a wide range of books on and about design and designers.

In addition to the complete Vitra collection – ranging from coffee table, photo collections such as “the furniture of charles and ray eames” to the more informative and beautifully designed Project Vitra – and Kartell publications such as “kARTell 150 items, 150 artworks” – an outrageous photographic journey through the Kartell catalogue in the company of some of the most celebrated fashion photographers – smow can supply all books published by and about our partners and their designers be it Moooi, Moormann or Artemide.

Just ask we are always happy to advise.

Vitra, moooi and USM Haller - contrast and harmony
(Photo Christin Bargel)

And, it goes without saying, we can also supply the bookcases in which to store or display your new purchase.

The USM Haller unit shown in the photos is a (smow)original which we are more than happy to re-create for you. Or you can order one in the more conventional monotone.

Other bookcases available from smow, include:

Buchstabler from Moormann

Bookworm from Kartell

Lovely Rita from Kartell

FNP from Moormann

We do know and appreciate how lucky we are that we have the time and resources to jet from Milan, to New York, to Berlin and the like just to look at designer furniture.

And we are thankful.
We are also thankful that dutch design house moooi will be showing their complete new collection as of 12.06 in the moooi gallery, Amsterdam.

Now if that isn’t worth a trip to Holland….

Eurlanterns by moooi works for moooi - As seen in Milan

The all-female group of young Swedish designers, FRONT and their latest collaboration with MOROSO, MOOOI, Established & Sons LTD and the new Italian design brand  SKITCH, were the talk of the town during the design week in Milan. Below we have showcased their latest designs and if the cushions of a sofa are balanced on their edges, a flat surface is turned into one richly draped with fabric and the wind has blown away a vase, then in front of your screen are showcased all the new products of FRONT design for 2009.

Via & more: Yatzer

Design Raimond Puts (2009)

Retrouvez l’ensemble de la sélection Forum Diffusion Home & Contract sur

www.forumdiffusion.fr

Design Marcel Wanders (2009)

This is the latest edition to the Delft blue collection created by a collaboration between Marcel Wanders & Royal Delft. The vase represents a digital age of currency and the approach to extinction for physical money. The vase illustrates the precise moment the piggy bank is struck.

The Killing of a Piggy Bank has two golden flowery eyes.

Dimensions 20 x 10 x 23 (l x w x h)

Retrouvez l’ensemble de la sélection Forum Diffusion Home & Contract sur

www.forumdiffusion.fr