DOCSLIB.ORG

Konstantin Grcic Panorama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Konstantin Grcic Panorama Konstantin Grcic Panorama Vitra Design Exhibition Concept Museum Konstantin Grcic Panorama Medici, side chair, Mattiazzi, Konstantin Grcic, 2012 Champions, table, Galerie Kreo, Konstantin Grcic, 2011 Diana A-F, side tables, ClassiCon, Konstantin Grcic, 2002 Myto, cantilever chair, Plank, Konstantin Grcic, 2008 Miura, bar stool, Plank, Konstantin Grcic, 2005 Konstantin Grcic is one of the leading designers of and refines the construction and functionality of his objects our time. His work is characterized by an intensive in a lengthy development process. Inspirations from fine arts exploration of new materials and technologies, and film lend Grcic’s objects a highly individual, often un- but also by a keen interest in contemporary art conventional aura – at times unwieldy, at times poetic, at and future living. Many of Grcic’s creations, such times surreal and surprising. as Chair_One (2004) or the Mayday lamp (1999), Another important point of reference for Grcic’s works is the are already recognized as design classics. With history of design itself, such as when he reinterprets well- the exhibition «Konstantin Grcic – Panorama», the known classics with the Bench B seating system (2013) and Vitra Design Museum is organizing the largest his OK lamp (2013). A particular source of fascination for Glove, vessel, Cor Unum, Konstantin Grcic, 2002 Missing Object, Galerie Kreo, Konstantin Grcic, 2004 Avus, club chair, Plank, Konstantin Grcic, 2011 Tom & Jerry, stool, Magis, Konstantin Grcic, 2011 solo exhibition on his work to date. It will be shown Grcic are past exhibitions on the future, such as «Visiona 2» by at the Vitra Design Museum from March through Verner Panton (1970) and the legendary exhibition «Italy – September 2014 along with subsequent presen- The New Domestic Landscape», which was shown at New tations at various museums worldwide. York’s Museum of Modern Art in 1972. Such futuristic yet long past projects provide Grcic with inspiration for his own work: Konstantin Grcic began his career with training in cabinet which predictions have come true, which have gone making followed by design studies at the Royal College of unfulfilled? How can we today create similarly salient visions Art in London. After a brief stint in the studio of the designer that reflect our collective expectations and hopes for the Jasper Morrison, he opened his own practice in Munich in future? And what role can be played by design? Coup, tea set, Tomas Rosenthal, Konstantin Grcic, 2005 Tip, waste bin, Authentics, Konstantin Grcic, 2003 Dummy, Prototypes in PU-foam, Moroso, Konstantin Grcic, 2004 1991. In his studio, Grcic has since worked primarily as a designer of furniture, products and interiors in collaboration with such renowned clients as Authentics, BASF, ClassiCon, Emeco, Flos, Magis, Muji, Nespresso, Plank and Vitra. The exhibition «Konstantin Grcic – Panorama» provides a com- prehensive overview of Grcic’s work and sheds light on his inspirations and work processes. At the same time, it is not a classic retrospective but an independent new design project: Grcic will be developing a number of spatial installations for the exhibition to render his personal visions for life in the future and place them in a broader intellectual context. This concept is closely linked with Grcic’s work approach. For him, design is the development of objects that become part of our future and must satisfy its needs and constraints – in everyday use as well as in social or ecological terms. At a time of crises and technological transformations, Grcic attempts to understand and improve our evolving living con- ditions with the ways and means of a designer. For each project, he closely examines the client’s technical know-how Konstantin Grcic, 2007 Chair_One, Magis, Konstantin Grcic, 2004 Mayday, lamp, Flos, Konstantin Grcic, 1999 Konstantin Grcic Panorama Medici, side chair, Mattiazzi, Konstantin Grcic, 2012 Champions, table, Galerie Kreo, Konstantin Grcic, 2011 Diana A-F, side tables, ClassiCon, Konstantin Grcic, 2002 Myto, cantilever chair, Plank, Konstantin Grcic, 2008 Miura, bar stool, Plank, Konstantin Grcic, 2005 Konstantin Grcic is one of the leading designers of and refines the construction and functionality of his objects our time. His work is characterized by an intensive in a lengthy development process. Inspirations from fine arts exploration of new materials and technologies, and film lend Grcic’s objects a highly individual, often un- but also by a keen interest in contemporary art conventional aura – at times unwieldy, at times poetic, at and future living. Many of Grcic’s creations, such times surreal and surprising. as Chair_One (2004) or the Mayday lamp (1999), Another important point of reference for Grcic’s works is the are already recognized as design classics. With history of design itself, such as when he reinterprets well- the exhibition «Konstantin Grcic – Panorama», the known classics with the Bench B seating system (2013) and Vitra Design Museum is organizing the largest his OK lamp (2013). A particular source of fascination for Glove, vessel, Cor Unum, Konstantin Grcic, 2002 Missing Object, Galerie Kreo, Konstantin Grcic, 2004 Avus, club chair, Plank, Konstantin Grcic, 2011 Tom & Jerry, stool, Magis, Konstantin Grcic, 2011 solo exhibition on his work to date. It will be shown Grcic are past exhibitions on the future, such as «Visiona 2» by at the Vitra Design Museum from March through Verner Panton (1970) and the legendary exhibition «Italy – September 2014 along with subsequent presen- The New Domestic Landscape», which was shown at New tations at various museums worldwide. York’s Museum of Modern Art in 1972. Such futuristic yet long past projects provide Grcic with inspiration for his own work: Konstantin Grcic began his career with training in cabinet which predictions have come true, which have gone making followed by design studies at the Royal College of unfulfilled? How can we today create similarly salient visions Art in London. After a brief stint in the studio of the designer that reflect our collective expectations and hopes for the Jasper Morrison, he opened his own practice in Munich in future? And what role can be played by design? Coup, tea set, Tomas Rosenthal, Konstantin Grcic, 2005 Tip, waste bin, Authentics, Konstantin Grcic, 2003 Dummy, Prototypes in PU-foam, Moroso, Konstantin Grcic, 2004 1991. In his studio, Grcic has since worked primarily as a designer of furniture, products and interiors in collaboration with such renowned clients as Authentics, BASF, ClassiCon, Emeco, Flos, Magis, Muji, Nespresso, Plank and Vitra. The exhibition «Konstantin Grcic – Panorama» provides a com- prehensive overview of Grcic’s work and sheds light on his inspirations and work processes. At the same time, it is not a classic retrospective but an independent new design project: Grcic will be developing a number of spatial installations for the exhibition to render his personal visions for life in the future and place them in a broader intellectual context. This concept is closely linked with Grcic’s work approach. For him, design is the development of objects that become part of our future and must satisfy its needs and constraints – in everyday use as well as in social or ecological terms. At a time of crises and technological transformations, Grcic attempts to understand and improve our evolving living con- ditions with the ways and means of a designer. For each project, he closely examines the client’s technical know-how Konstantin Grcic, 2007 Chair_One, Magis, Konstantin Grcic, 2004 Mayday, lamp, Flos, Konstantin Grcic, 1999 Concept The exhibition centres around three large installa- outlook on our future way of life by correlating utopian and tions dedicated to a key design theme: living and dystopian, enjoyable and disturbing narratives. The fourth and interiors, work and production, and the public final area of the exhibition contains an «Archive of Things», in space. Each of these areas is conceived as a stage- which a large number of Grcic’s previous works will be like scenario with which Grcic lays out his vision of shown, complemented by sketches, models, prototypes, his- the future for the respective theme. The installa- torical objects and found artefacts. Grcic’s oeuvre will be tions will feature existing designs, new objects, presented in a narrative sequence and investigated in found artefacts and archival documents, supple- regard to the influence of other objects and eras, culminat- mented by film material, background information ing in a forward-looking perspective – how will this body of and narrative fragments reflecting the potential works continue to develop? What can we learn about the life of an imaginary user in the various sections of creation and development of design to apply it even more the exhibition. Current debates such as those on effectively for our future? Design study for «Panorama» exhibition by Konstantin Grcic, «Work_Space» sustainability, open design and 3D printing are With its mix of retrospective and outlook, the exhibition further developed and examined in regard to their «Konstantin Grcic – Panorama» also ties in with the at- concrete impact – imparted through the work of tempts of the 1960 / 70s to imagine the future through de- the designer – on our future way of life. sign. Although we know today how easily such visions can fall short, the exhibition represents the position that such For the first area, Grcic creates an experimental habitat. The explorations of the future are more urgent than ever in light personal needs and aspirations placed on future living situ- of the many challenges faced by humanity. While past ations will be explored by means of a programmatic dwelling designers often placed an excessive faith in technology space with a central living platform that includes technical and expressed their belief in a «brave new world», Grcic is features and functions as a flexible, yet intimate enclosure. seeking more differentiated, contemporary images for our The second area will show the prototype of a design studio, future ways of life.
Load more

Recommended publications
  • Home Stories Home Stories
    Home Stories Home Stories v We believe that a home is a collage. A unique composition of objects set in continuous motion by people (and pets). As we move through our lives, we collect the things and the memories that com­ bine to create the grain and texture of spaces that could only be ours. When a Vitra object arrives in your home, it already comes with a long story. One of a designer who, in collaboration with us, starts a seemingly endless development process, filled with trials and errors. One of a manu facturing attitude where the details are not the details, but what makes the quality of your new piece. And you take this tale forward enriching it with the stories of your own home. Eames and Vitra → 35 Vitra Sofa Stories → 51 CONTENT #VitraOriginal → 79 Index → 122 A Day at the Vitra Campus → 89 Dine → 5 Relax → 39 Live → 55 3 Work → 83 Play → 93 Dine “The role of the designer is that of a very good, thoughtful host anticipating the needs of his guests.” Charles Eames 5 DINE 6 Softshell Side Chair The Softshell Side Chair (2017) by Ronan and Erwan Bouroullec, whose gentle contours are defined by its soft upholstery, offers superb seating comfort with its compact dimensions. 2 1 Softshell Side Chair · Ronan & Erwan Bouroullec, 2017 Dumet · 08 anthracite melange 1 2 Wood Table · Edward Barber & Jay Osgerby, 2014 90 solid oak, smoked, oiled 3 Softshell Chair · Ronan & Erwan Bouroullec, 2008 Dumet · 08 anthracite melange 4 Nuage · Ronan & Erwan Bouroullec, 2016 5 Environmental Enrichment Panels · Alexander Girard, 1971 6 Candle Holders · Alexander Girard, 1963 7 4 3 6 4 DINE 5 1 2 9 Aluminium Chairs EA 101/103/104 The Aluminium Chairs EA 101-104 (1958) by Charles and Ray Eames are somewhat narrower than the other Aluminium Chairs, making them ideally suited as dining chairs – on swivel or non-swivel bases, with or without armrests.
    [Show full text]
  • Phaidon New Titles Winter/Spring 2021 Phaidon New Titles Winter/Spring 2021
    Phaidon New Titles Winter/Spring 2021 Phaidon New Titles Winter/Spring 2021 phaidon.com Phaidon New Titles Winter/Spring 2021 Photography Food & Cooking Annie Leibovitz: Down the Rabbit Hole 6 Home Farm Cooking 48 The Family Meal: Home Cooking with Ferran Adrià, 10th anniversary edition 50 6 8 12 14 18 Art Australia: The Cookbook 52 Mouths to Feed 54 Catherine Opie 8 The Arabesque Table 56 Don Marron: Collector 10 monk 58 Vitamin D3: Today’s Best in Contemporary Drawing 12 Today’s Special: 20 Leading Chefs Choose Vitamin C: Clay and Ceramic in Contemporary Art 14 100 Emerging Chefs 60 KAWS: WHAT PARTY 16 The Origins of Cooking: Palaeolithic and Neolithic Jim Hodges 18 Cooking 62 How To Become A Successful Artist 20 20 22 24 26 28 Travel Architecture Wallpaper* City Guides 64 Living in Nature 22 Drama 24 Radical Architecture of the Future 26 Children’s Books Architizer 28 Carlo Scarpa 30 Jean Jullien: This is Still Not A Book 68 JR: How Old Am I? 70 Banksy Graffi tied Walls and Wasn’t Sorry. 72 30 32 34 36 38 40 Design & Decorative Arts My Art Book of Friendship 74 Phaidon’s Bestselling Series for Children 76 By Design 32 Patented: 1,000 Design Patents 34 nendo 2016–2020 36 How to Order OWN Iittala 38 Omer Arbel 40 How to Order 78 IT General Interest 42 44 46 48 50 52 Flower Color Theory 42 Own It 44 Jane’s Carousel 46 54 56 58 60 62 68 70 72 74 phaidon.com Annie Leibovitz: Down the Rabbit Hole Annie Leibovitz, with a foreword by Anna Wintour Legendary photographer Annie Leibovitz’s surprising – and surprised – account of her encounters with fashion ‘Looking back at my work, I see that fashion has Key Selling Points 290 × 250 mm ‘Annie seems to travel through the world ‘Leibovitz’s portfolio could serve as a ‘Whether she’s photographing the always been there,’ Annie Leibovitz observes in the - 9 ⅞ × 11 ⅜ inches in the way of a wonderstruck stranger, record of our times.’ – The Telegraph, famous and powerful – or simply preface to her new book, Down the Rabbit Hole.
    [Show full text]
  • Biography & Works Konstantin Grcic
    Biography & Works Konstantin Grcic born 1965, Munich Education 1985 – 1987 Apprenticeship as cabinet maker at John Makepeace School for Craftsmen in Wood (Parnham College), UK 1988 - 1990 Master of Arts in Design, Royal College of Art, London 1990 - 1991 Work for Jasper Morrison, London since 1991 Konstantin Grcic Industrial Design (KGID), Munich Work (Selection) 1991 Tom Tom & Tam Tam, side tables, SCP 1992 Coathangerbrush, coat hanger, Cappellini, Progetto Ogetto 1994 Square, waste paper basket, Authentics 1995 Refolo, trolley, Driade 1996 2 Hands, plastic container, Authentics 1998 HutAb, coat stand, Moormann 1999 Es, shelf, Moormann 1999 Relations, glassware, Iittala 1999 Mayday, lamp, Flos 2001 Chaos, upholstered seating, ClassiCon 2002 Diana, side table, ClassiCon 2002 Glove, vessels, Cor Unum 2002 Pallas, table, ClassiCon 2003 Coup, tableware, Thomas/Rosenthal 2003 Tip, waste bin, Authentics 2004 Chair_One, chair, Magis 2005 Miura, bar stool, Plank 2005 a number of kitchen appliances for Krups 2008 Myto, chair, Plank 2008 Karbon, chaise longue, Galerie kreo 2009 360°Stool, chair, Magis 2009 Monza, arm chair, Plank 2010 Galata, side table, Marsotto 2011 Tom & Jerry – The Wild Bunch, stools, Magis 2011 Waver, arm chair, Vitra 2011 Champions, limited edition of six tables, Galerie kreo, Paris 2012 Pro, school chair, Flötotto 2012 Medici, low chair, Mattiazzi 2013 OK, lamp, Flos 2013 Bench B, bench, BD Barcelona 2013 Parrish Side Chair, Emeco Monographic exhibitions & curatorial projects 1995 »Konstantin Grcic Twinset«, Binnen Gallery,
    [Show full text]
  • A Revolution in Ceramic the Freedom to Reshape
    A REVOLUTION IN CERAMIC THE FREEDOM TO RESHAPE Swiss manufacturer Laufen is the only company in the world to produce SaphirKeramik, a new patent pending ceramic­ material. Laufen revolutionised bathrooms in 2013 with this unique material perfected after five years’ intensive research and development. Strong and malleable, SaphirKeramik permits the creation of wafer­thin yet robust 3–5mm walls and tight­edge radii of just 1–2mm. Its slender profile not only allows for a more pre­ cise design language but also has functional and ecological advantages. For example, its slim walls create more functional space. This revolutionary, ceramic material reaches its ex­ ceptional hardness blended with corundum, a colourless miner­ al found in sapphires. Rigorous testing has revealed that its flexural strength is equal to that of steel. In 2015 Laufen’s cutting-edge engineering has once again stretched the innovative material’s limits by increasing its maximum size – its 120 cm long washbasin in SaphirKeramik is its largest to date. Laufen has also applied its impressively efficient, high-pressure casting technology to other, high- volume pieces in SaphirKeramik. Moreover, as a brand new ceramic medium, SaphirKeramik gives designers almost limitless freedom to experiment and innovate. KARTELL BY LAUFEN DESIGN BY L + R PALOMBA Kartell by Laufen 815334 (tap bank right) 460 × 280 × 120 mm Kartell by Laufen 815335 (tap bank left) Kartell by Laufen 812331 460 × 280 × 120 mm 420 × 420 × 120 mm Kartell by Laufen 810334 (shelf right) 600 × 460 × 120 mm Kartell by Laufen 810335 (shelf left) 600 × 460 × 120 mm Kartell by Laufen 815331 460 × 460 × 120 mm Kartell by Laufen 812332 750 × 350 × 120 mm The unique material SaphirKeramik opens up new With arbitrary non­linear shrinkage in the opportunities of design with much more creative freedom and greater drying and firing process, vitreous china is the oldest and finesse while the traditional production process is maintained.
    [Show full text]
  • FOR IMMEDIATE RELEASE Media Contact: TARA, Ink
    FOR IMMEDIATE RELEASE Media Contact: TARA, Ink. Nick D’Annunzio/Rebecca Astorga [email protected]/[email protected] 305.864.3434 ext. 185 MIAMI IRONSIDE LAUNCHES DESIGN ESCAPE DURING ART WEEK MIAMI 2014 Events, taking place from Nov. 30 to Dec. 7, will include bespoke art exhibitions, music performances and talks featuring internationally renowned artists and designers Miami, Fla. (November 2014)—Miami Ironside, located in Miami’s historic Upper Eastside neighborhood, will engage international art and design enthusiasts during Art WeeK Miami 2014 for the premiere of Design Escape. The inaugural event brings together the global design industry for a week-long activation inspiring art and design within Ironside’s serene environment to slip away from the frenzy of the fairs. Design Escape inaugurates with a distinctive oasis by world-renowned architect and industrial artist Ron Arad with a nod to his collaborative editions for Italian luxury brands FIAT and Moroso. The design retreat features a Fiat 500 Ron Arad Edition, a modern masterpiece unveiled at Paris Fashion Week Spring/Summer 2015, along with a lounge highlighting Ron Arad seating systems for Moroso to include Victoria & Albert (2000), Ripple Chair (2005) and Misfits (2007). “Miami Ironside is a microcosm of cultures, creative movements and styles—an idea that grew organically and adapted over time,” says founder Ofer Mizrahi. “The launch of Design Escape reflects this momentum and where we are going for the future.” LAUFEN North America debuts its U.S. showroom with a featured exhibition by Swiss designer Tom Strala, along with an installation by designers Konstantin Grcic and Toan Nguyen.
    [Show full text]
  • Drape and Rise by Konstantin Grcic
    Drape and Rise by Konstantin Grcic March 2013 [email protected] Maharam 251 Park Avenue South NY, NY 10010 800.645.3943 maharam.com Drape and Rise are the first in a series of non-woven concepts designed by Konstantin Grcic in collaboration with Maharam. The result of five years of intensive development, these sleek industrial materials demonstrate an innovative approach to dimensionality and tactility. Maharam invited Grcic to explore non-woven textiles based on his finesse with polymers as demonstrated by designs like the Mayday lamp, the Muira bar stool, and the MYTO cantilever chair. In 2008, Grcic toured various manufacturing facilities throughout Europe with a member of the Maharam Design Studio to acquire an understanding of the complex production processes at his disposal. He then developed his ideas in the abstract by experimentally applying pattern and texture on furniture forms placed in a range of atmospheric settings. These renderings were later presented as a series of workbooks documenting his comprehensive design process. Drape and Rise make use of traditional embossing rollers to create real and implied dimensionality. Drape’s emboss of recessed dots creates the illusion of cascading fabric while Rise’s convex emboss of cambering lines has the effect of mapping the three- dimensional forms on which it’s applied. In both materials, a contrasting color is “tip printed”—or selectively applied to specific points of the emboss—to heighten the appearance of depth. Drape by Konstantin Grcic will launch in June, followed by Rise in August. Konstantin Grcic is an industrial designer based in Munich. He trained as a cabinetmaker before studying design at the Royal College of Art in London.
    [Show full text]
  • Classic Contemporary Design
    Oliver Holy, Owner P 10 P 145 P 162 P 183 Company Oliver Holy‘s Contract Designers Munich P 21 P 154 P 174 P 186 Collection Craftsmanship Eileen Gray Products E1027 Classic Contemporary Design All Eileen Gray Designs are authorised by The World Licence Holder Aram Designs Ltd., London 1927 Adjustable Table E1027, Eileen Gray classic 2012 Bell Side Table, Sebastian Herkner contemporary 1908 Nymphenburg Coat Stand, Otto Blümel classic 2007 Saturn Coat Stand, Barber Osgerby contemporary A place for visions and views: the place where its history begins is as timelessly classic as our furniture. Since 2003, ClassiCon’s showroom, offices and warehouse have been located in a building designed for us by architect Joachim Jürke. With its reduced aesthetics, materials such as glass, concrete and wood, and a consistently sustainable orientation it is a symbol of our philosophy to always focus on the essential. timeless What matters in the end are things that remain. At ClassiCon, we are dedicated to these timeless companions. Our name stands for the unmistakable combination of classic and contemporary, the classics of today and those of tomorrow. What they all have in common is that form and function prevail beyond trends and fashions. We enjoy having them around because they are outstandingly designed, carefully selected, and produced with the enormous passion of craftsmanship. Time is unable to harm them; instead, they gain in stature as time goes by. pioneering How much spirit of departure does a piece of furniture contain? At ClassiCon, you will only find innovative furniture that expresses the courage to depart from familiar ground.
    [Show full text]
  • Artists & Scholars in Residence 2011
    Inhaltsverzeichnis Table des matières Indice Stiftungsrat Head of Arts Programme .................................................................................................... 040 Conseil de fondation Consiglio di fondazione ..................................................................................................... 004 Head of Research Programme ............................................................................................ 048 Kommissionen Elenco delle attività Roma/Milano/Venezia ....................................................................... 054 Commissions Produzioni ......................................................................................................... 054 Commissioni ..................................................................................................................... 005 Altre attività, Sostegni, Patrocini ............................................................................. 068 Statistiche ........................................................................................................... 077 Institut Institut Publikationen Istituto .............................................................................................................................. 006 Publications Pubblicazioni ..................................................................................................................... 078 Propos du Président du Conseil de fondation ..................................................................... 008 Photogalerie Bericht
    [Show full text]
  • Three Days of the Most Exciting Global Business and Educational Conference “Change2”, Again in Belgrade, at the Sava Centre, from May 10 Until May 12, 2007
    Check out why in 2006 Ross Lovegrove, Konstantin Grcic, Peter Saville, Ben Evans, Luigi Collani, Karim Rashid, KesselsKramer, Deyan Sudjic, Sasha Lakic, Metadesign, Magis, Design Hotels, Gaetano Pesce, Jan Rijkenberg, Sicco van Gelder, Landor, Miles Newlyn and many more became Belgrade Design Week ambassadors: “Belgrade truly touched and moved me. It is difficult to describe feelings that overflow me. Your desire to bring people together, your dedication and commitment to an idea, the need to look the people in the eye, the inner beauty I have encountered here, all is so sincere and real. There are not many such places on the planet. Please, invite me again!” Ross Lovegrove, Belgrade, April 2006. 7-12 May Belgrade Design Week, the second time! This year, BDW is even better! Three days of the most exciting global business and educational conference “change2”, again in Belgrade, at the Sava Centre, from May 10 until May 12, 2007. The world’s best in branding, design, architecture, publishing, advertising and business will explain WHY THE WORLD IS CHANGING and how to be READY. A must for every businessmen planning the future of their business, community, region as well as for creatives planning their own future and the future of their clients. Over 50 exhibitions and events, premieres and presentations throughout the city of Belgrade, from May 7 until May 12, 2007. You are invited! Why did we name the whole conference “change²”? Some of the most prominent contemporary thinkers, people who change the world of today and create the world of tomorrow are speakers at the conference and guests at BDW 07.
    [Show full text]
  • DM 10 Talks Release
    DESIGN MIAMI/ CONTINUES ITS TRADITION OF BOLD PROGRAMMING WITH 2010 DESIGN TALKS MODERATED BY STEFANO TONCHI, EDITOR-IN-CHIEF OF W MAGAZINE Panelists for Design Talks include Ron Arad, Konstantin Grcic, Pharrell Williams, and David Adjaye This December, Design Miami/, the global forum for design, will continue its tradition of cutting edge programming with the 2010 Design Talks. Since its inception, the Design Talks programme has offered an intimate and forward-looking exploration into topics at the intersection of art, architecture, design, and fashion. Held at Design Miami/ shows biannually in Basel, Switzerland and Miami, the highly anticipated Talks programme is comprised of industry leaders, artists, and experts exploring a series of timely and provocative topics. This year, Design Miami/ is pleased to partner with W Magazine and W Magazine’s Editor-in-Chief, Stefano Tonchi for three Talks: “Craft and Craftsmanship,” “Romantic Minimalism,” and “Heritage and Identity.” Starting Wednesday, December 1, Tonchi will moderate this year’s Talks with participants including Silvia Venturini Fendi, Ron Arad, Pharrell Williams, Konstantin Grcic, John Pawson, Francisco Costa, Stefano Pilati, Louise Neri, and David Adjaye. The Design Talks will take place over three days from 6 to 7 PM at Design Miami/ in the ASSOULINE Culture Lounge, sponsored by ASSOULINE Publishing and furnished by Poltrona Frau, Cappellini, and Alias. “At each show, the Talks programme brings together a small yet highly influential group of people who are changing the worlds of design, art, architecture, and fashion,” says Ambra Medda, Co-Founder and Creative Consultant for Design Miami/. “What each of these people share is the vision and ability to not only push the boundaries of their chosen fields but to do so in a way that enriches our understanding of the role of creativity in contemporary culture.” Design Miami/ selected W Magazine Editor-in-Chief Stefano Tonchi to moderate the 2010 Design Talks for his long history of actively engaging with the creative industries.
    [Show full text]
  • Vitra Opens a New Pop-Up Shop and Garage Office in New York 02.23.2017
    Vitra Opens a New Pop-Up Shop and Garage Office in New York 02.23.2017 Located opposite the Whitney Museum, the Vitra Pop-Up Shop showcases celebrated design classics alongside the new Vitra and Artek accessories collections and new furniture items for home and office. February, 2017 (New York, NY) – Swiss design manufacturer Vitra is pleased to announce the opening of the new Vitra Pop-Up Shop in NYC’s Meatpacking District, located at 100 Gansevoort Street opposite the Whitney Museum of American Art. The 7,500-square foot space showcases Vitra’s new Accessories Collection alongside Vitra and Artek furniture items for home and office, including new introductions to the Jasper Morrison Collection. The Vitra Pop-Up Shop unites a retail storefront with a Garage Office installation starring Hack, designed by Konstantin Grcic. The location will also serve as the Swiss design manufacturer’s temporary US headquarters, offering the team a unique opportunity to experiment and push the boundaries of working in a creative environment. “Vitra recognizes that the next disruptive business models will be born in companies fostering a ‘garage’ frame of mind. Its industrial feel and raw aesthetic make the Vitra Pop-Up space the ideal setting to bring the Garage Office concept to New York – a concept rooted in agility and entrepreneurship culture,” says René Walpen, Vitra President, North America. “With sweeping views of the Hudson River, the Pop-Up is a perfect backdrop for our new introductions and beloved design classics.” Making their US debut at the Pop-Up are several Vitra and Artek pieces from the latest accessories collections, which were developed in collaboration with contemporary designers but also include re- editions based on research and inspiration from the archive of Alexander Girard.
    [Show full text]
  • The Resurrection of Disco-Inspired Spaces Incites a 'Night Fever' Epidemic SPACES 119
    RETAIL, HOSPITALITY, SHOW The resurrection of disco-inspired spaces incites a 'night fever' epidemic SPACES 119 DISCO WAS A FLASH in time, albeit a bright one. The neon lights and polyester pantsuits ripped through the seventies and - like glit• ter that just won't come off - left an influence on contemporary design. In recent years, however, examples of disco are showing up with a fervour that suggests the movement's resurgence is more than just nostalgia. Consider Fiorucci, an Italian clothing label founded in 1967 that became synony• mous with the.youth movement. Its New York City store'was even dubbed the 'daytime Studio 54'. But with the end of the eighties came the end of Fiorucci. Until now, that is. Last year the brand triumphantly opened a Brinkworth-designed store in London's Soho district. Teeming with neon lights, toxic- yellow curtains, a round bed - and hosting an occasional roller-disco event - the space harkens to the past while making 2Ist-century waves. Why is now the right time for Fiorucci to bloom again? Because of'the optimism', according to Stephen and lanie Schaffer, the brand's new owners, as reported in The Guardian. 'When you look at the news you think: God, we need it... There's a desire for escapism.' Fashion was a first responder to the disco trend, as exemplified by Bob Mackie's psychedelic-hustler costumes for Elton John. The sartorial memorialization of two highly prolific maximalists, David Bowie and Prince, appeared in Spring/Summer 2018 collections from the likes of Gucci and Dolce&Gabbana, who showed apparel rich in Lycra and sequins.
    [Show full text]