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The Great Indoors

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The Great Indoors The Great Indoors CATALOGUE SPRING 2018 Contents 2 New Titles Ceramic Design What I’ve Learned The Other Office 3 8 Previously Announced Grand Stand 6 Suppose Design Office Identity Architects Built Unbuilt 12 Recent Titles Jo Nagasaka / Schemata Architects Studio O+A Happening 2 Night Fever 5 16 Portfolio Highlights Where They Create Japan Sound Materials Powershop 5 Knowledge Matters Spaces for Innovation CMF Design Goods 2 Holistic Retail Design 20 Backlist 29 Index 30 Distributors 32 Contacts & Credits 2 NEW TITLES 3 CERAMIC DESIGN New Wave Clay The unprecedented surge in popularity of 44 Ceramic Design 45 Bruce Rowe By day, Bruce Rowe runs the Melbourne ceramics brand Anchor Ceramics, which produces handmade lighting, tiles and planters on an almost industrial scale, selling to homes, architects and the hospitality trade across Australia. Then Rowe swaps making ceramics for the built environment in order to make the built environment ceramics in the last five years has helped forge out of clay. The structures he creates are composed of architectural elements BRUCE assembled in strange compositions: constructions made of stairs, passageways, bridges and arches. They are never literal images of actual architecture, but creative interpretations with a De Chirico-like surreal quality. “The works do not directly reference any specific place, building or structure. Whilst educated in the structural and spatial language of architecture, my a new type of potter: the ceramic designer. ROWE practice combines this knowledge with an inquiry into the symbolic function and aesthetic activity of visual art,” he says. Rowe began making small, singular pieces and progressed into series of structures that make up a whole. Stoneware clay was joined in his toolkit by terracotta, a material usually used to make bricks, rather appropriately. These con- structions are displayed within shelf-like displays or extended plinths. Some are Part-craftsman, part designer, they bridge configured as wall reliefs, like looking down on an empty city through a port hole. There is a direct relationship between sculpture and architecture for Rowe. “They hold close connections as enduring human art forms,” he says. “Both disci- plines involve the body, materiality, light, scale, form and space. The articulation of space is a constant calling through the works.” ceramic craft, collectable design and fine art. These ceramicists include product designers who use clay as a means of creative expression, classically trained potters who create design-led pieces, in addition to interior decorators, illustrators and graphic designers. Their collective output includes furniture, 1 decorative objects, murals and vessels: not art, not craft, but design. 46 Ceramic Design 47 Bruce Rowe 1 And on the other hand, the postwar period saw the rise of the fine art ceramicist: contemporary artists who just happened to use clay in their practice but rejected many of its traditional codes of practice. The ambition of the book is to show 2 The unprecedented surge in popularity of ceramics in the last five years has helped forge a new type of potter: the ceramic designer. 3 These ceramicists include product designers who use clay as a means of creative expression, classically trained potters who create design-led pieces. 1 Contemporary artists who just happened to the diversity of this area of creative production use clay in their practice but rejected many of its traditional codes of practice. 2 and the way in which history, craft, technology 3 LOCATION Melbourne, and design are all intersecting in the present Australia CLAY BODIES Stoneware, raku, earthenware day. Ceramic Design unpicks the zeitgeist and TECHNIQUE Handbuilding, sculpting GLAZES aesthetic of this exciting discipline with Stoneware glazes developed in the studio EDUCATION intelligence, insight and indulgence. Bachelor of Architecture, University of Western Australia PREDOMINANT FORM Sculpture 4 ‘They hold close connections as enduring human art forms. Both disciplines involve the body, materiality, light, scale, form and space.’ Ceramic Design unpicks the zeitgeist and aesthetic of an exciting discipline with intelligence, insight and indulgence Category Art, Design, Product Design • A 296-page survey of 80 international Author Tom Morris ceramicists who bridge the worlds of Graphic Design Frame product design, interiors, fine art and 296 pages 200 x 260 mm luxury craftsmanship. 400 photos and illustrations • Four thematic chapters are accompanied Hardcover by written contributions on the subject £32 / €39 from designers, decorators and collectors. ISBN 978-94-92311-24-5 English April 2018 4 NEW TITLES 5 WHAT I’VE LEARNED 25 Creatives Share Career-defining Insights 2 The regular feature What I’ve Learned in Defying the commercial Frame magazine opens the door for readers to direction suggested to architects during his discover more about their favourite designers formative years, DAVID and architects. In candid interviews, these CHIPPERFIELD says individuals reflect on the path their careers the most important as- pect of his profession is a have taken them and the industry at large, strong engagement with offering the reader the possibility to take a society. shortcut and learn from their experiences. Revisiting a selection of these interviews for compilation into this new book, What I’ve Learned includes new material and 16 WHAT I'VE LEARNED XXXX DESIGNERS XXXXXXX 17 further insights. The book does also feature the most important projects or products with which these established creatives made their name, but in a personal way with the intricacies of real-life woven in. The creative conversations illustrated in this title demonstrate the strengths and inspirational vision of personalities such as Tom Dixon, Jaime Hayon, Piero Lissoni, Ingo Maurer, Inga Sempe and Patricia Urquiola. 1996 Juli Chair It’s Milan Design Week 2017. I meet Werner Aisslinger at Cappellini Ten years ago there were two fashion collections a year: summer and Point, where he’s introducing a new sofa for the brand. It’s the perfect winter. Now there might be a dozen. Furniture brands are trying to change backdrop for bridging past and present, because it was Cappellini that their collections every year, even if the companies are really small – too helped to springboard the Berlin-born designer’s career. ‘Juli was the small to be innovative. The life cycle of products on the market is getting first chair to have a soft shell made from polyurethane integral foam,’ shorter and shorter.’ he says. ‘It was an extremely innovative product at the time.’ Aisslinger, Twenty years on, Juli is set for a reboot. ‘Cappellini now belongs then in his 30s, watched as the chair – whose production method is to Hayworth, and they’re considering doing a plastic version that might derived from the automotive industry – was published around the globe be a cheaper commercial option. The chair sold reasonably well over the and later snapped up by MoMA in New York City. ‘Having a chair in the past 20 years but not as well as it could have, as the material was always MoMA collection is kind of the ultimate level you can achieve. You’re quite expensive. If we do a plastic version, we could enter another price part of the history of design.’ bracket and produce larger quantities.’ The product has been in Cappellini’s collection ever since. Aisslinger calls Juli his ‘most important’ product. ‘Today ‘Nowadays it’s not easy to have a product on the market for 20 years. Cappellini is one of many brands in Italy, but in the ’90s it was the The pace in the furniture industry is becoming closer to that of fashion. brand. It set the pace. Everyone rushed to the openings, which were 8 WHAT I'VE LEARNED XXXX DESIGNERS XXXXXXX 9 In candid interviews, 25 individuals reflect on the path their careers have taken them Category Creative Process • A compilation of the well-read Frame Authors Frame magazine feature What I’ve Learned. Graphic Design Frame • The book opens the door for readers 208 pages 200 x 260 mm to discover more about their favourite 250 photos and illustrations designers and architects. Soft cover £25 / €29 ISBN 978-94-92311-26-9 English February 2018 6 NEW TITLES 7 THE OTHER OFFICE 3 Creative Workplace Design CHAPTER NAME 01 Ohlab José Hevia José 1 The vertical striations on the walls reveal full-length doors concealing 2 This book highlights inspirational interiors that perimeter storage. 2 Notched into a mirror-finished plane, a series of wooden alcoves with wooden form four cosy breakout areas. are setting the trends in creative workplace design. At its core are around 100 pioneering 1 projects drawn from practices all over the world. Featured offices include ad agencies, media outfits and technology firms, ranging from compact offices and design hubs to large workplaces. RELOJERIA ALEMANA OHLAB toys with juxtaposition to formulate a bisected workplace which promotes Office designs are presented on 4 to 6 a holistic workflow. pages, which include an in-depth description of PALMA DE MALLORCA – Having already designed of employees across the desk’s length, a glass partition two of Relojeria Alemana’s jewellery store interiors, slices through one end of the universally adaptable Ohlab took on the scheme for the budding brand’s table to section off a desk for meetings while offering office, conceiving a two-faced workplace with a sole acoustical privacy. goal: openness. At the top level of the jeweller’s Palma Parallel to the extended desk, a succession of de Mallorca headquarters, employees drift between two four niches are notched into the reflective separator diverse ambiences set within one elongated room; a of chromed stainless steel. There is an entrance area boundless cloud and intimate forest clearings. with a lounge, a full kitchen, informal meeting table both concept and design, project credits and Between a row of windows and a mirrored wall, a and bar complete with bathrooms for staff.
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