Posts tagged design

A PAGE FROM + M E M P H I S  george j sowden, interior design, 1983

A PAGE FROM + M E M P H I S 

george j sowden, interior design, 1983

GO SEE: COLLECTIVE .1 DESIGN FAIR

PIER 57 new york, May 8th -11th, 2013

Today marks the inaugural edition of Collective .1 Design Fair assembled by designer Steven Learner’s “powerhouse” Collector peers, such as Kyle DeWoody and Cristina Grajales. An exclusive curated collection of only 20th and 21st century design, Learner is confident this fair has “staying power” for New York. Read more of the preview with Introspective Magazine here.

G O  S E E:  LINE VAUTRIN: 100 years of magnitude

MASON GERARD new york, may 16th - june 21st 2013

“Line Vautrin, a revered French artist of the 20th Century once dubbed ‘the poetess of metal’ by Vogue… Vautrin’s artistic signature is very much in evidence in this extraordinary highly personal collection of her extremely rare and intricate detailed boxes. Carefully amassed over more then 40 years, it’s the largest of its kind to ever reach the market. It began with decades’ worth of romantic gifts from the collector’s father to his mother, with the son often brought along on visits to both Vautrin’s boutique and her legendary Marais atelier in the 50s and 60s.”

e t t o r e  s o t t s a s s  j r.  D E S I G N E R  vase, model no. y34, from the ‘yantra series,’ 1970 PHILLIPS DESIGN LONDON 25 APRIL 2013 In the late 1960s Ettore Sottsass identified with design as an ‘instrument of social criticism, paving the way to the season of radical design and the assertion of the need for a new aesthetic.’ Memphis then emerged at the end of 1980 around its central figure, Sottsass, disregarding all academic convention and substantially influencing design. “The prevalent criterion for design was no longer the ability to solve technical problems, but rather the object’s capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design idiom.” via.

e t t o r e  s o t t s a s s  j r.  D E S I G N E R 

vase, model no. y34, from the ‘yantra series,’ 1970

PHILLIPS DESIGN LONDON 25 APRIL 2013

In the late 1960s Ettore Sottsass identified with design as an ‘instrument of social criticism, paving the way to the season of radical design and the assertion of the need for a new aesthetic.’ Memphis then emerged at the end of 1980 around its central figure, Sottsass, disregarding all academic convention and substantially influencing design. “The prevalent criterion for design was no longer the ability to solve technical problems, but rather the object’s capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design idiom.” via.

r o b e r t  b r o w n j o h n  D E S I G N E R obsession and fantasy, 1962

r o b e r t  b r o w n j o h n  D E S I G N E R

obsession and fantasy, 1962

g i u s e p p e  p a g a n o  D E S I G N E R  chair, 1942 WRIGHT important design auction

g i u s e p p e  p a g a n o  D E S I G N E R 

chair, 1942

WRIGHT important design auction

m e m p h i s  D E S I G N  A R C H I V E the cover show, 1986

m e m p h i s  D E S I G N  A R C H I V E

the cover show, 1986

REQUIRED READING

CAMPANA BROTHERS: complete works (so far)

“A highly anticipated monograph, the first of their career, this book contains newly commissioned photography and detailed information on all of the Campanas’ designs, including prototypes, rare one-offs, and limited and mass-production pieces. In addition, four illuminating essays by experts in the design field make this the book on the Campanas for years to come.”

r o b e r t  v e n t u r i  D E S I G N E R queen ann chair, 1984 WRIGHT important design auction

r o b e r t  v e n t u r i  D E S I G N E R

queen ann chair, 1984

WRIGHT important design auction

I N S I D E  w i t h  M A T E R I A  L U S T last night at Phillips de Pury DESIGN MASTERS  through december 10, 2012 shiron kuramata ’laputa’ bed, 1991

I N S I D E  w i t h  M A T E R I A  L U S T

last night at Phillips de Pury DESIGN MASTERS 

through december 10, 2012

shiron kuramata ’laputa’ bed, 1991

A PAGE FROM + ELLE DECORATION UK november 2012 a conversation with an “offspring of an icon” designer Charlotte Perriand.  “despite many articles lauding her as a woman working in what was then perceived to be a man’s world, the impression is that she did not regard her gender as something that held her back.” 

A PAGE FROM + ELLE DECORATION UK

november 2012

a conversation with an “offspring of an icon” designer Charlotte Perriand. 

“despite many articles lauding her as a woman working in what was then perceived to be a man’s world, the impression is that she did not regard her gender as something that held her back.” 

M A T E R I A L  L U S T  M U S E:  l a u r e n  c o r n e l l  

Recently appointed curator of New Museum’s 2015 Triennial, Lauren Cornell, spotlighted in the fall design issue of T Magazine, has come a long way from her childhood idealization for the director of the Whitney and ”has many reasons for championing difficult art: ‘because it is new, and thus not accepted or considered ugly and unhip; because it is old and forgotten and important…’ ” To follow her 2005 work with the museum on the inauguration of The Generational: Younger Than Jesus, the 2015 Triennial will be her third edition of The Generational where she will explore “how art can point toward the future in a moment when we’re so deeply obsessed with the past.” 

REQUIRED READING

C A R L  A U B O C K  t h e w o r k s h o p

“The Werkstätte Carl Auböck was founded in the 19th century—one of many workshops in Vienna specializing in bronze-casting. However, Carl Auböck II was one of the very few Viennese students who attended the Bauhaus in post-World War I Weimar, and when he returned to the Workshop he brought inspiration from this new design movement. Expert craftsmanship and superior quality materials such as hand-sewn leather, polished bronze, and various woods became the signature of the Bauhaus-inspired Auböck Workshop…”

G O  S E E:  t h e  b a c k  r o o m london design festival, september 14 -23, 2012 faye toogood, of the london based studio toogood, “engages not only with the products themselves but also with the three-dimensional space in which they are exhibited, working across multiple disciplines (art direction, installations - most recently a pop up shop with opening ceremony, and limited editions) to create a single body of work with an intuitive and unified narrative.” studio toodgood is a part of this years London’s Design Festival where they invite the public to an open studio of their north London canal-side location to experience a “modest, back-room setting” and view her prior limited edition collection ‘BATCH’ which has now been made accessible through small-scale production.

G O  S E E:  t h e  b a c k  r o o m

london design festival, september 14 -23, 2012

faye toogood, of the london based studio toogood, “engages not only with the products themselves but also with the three-dimensional space in which they are exhibited, working across multiple disciplines (art direction, installations - most recently a pop up shop with opening ceremony, and limited editions) to create a single body of work with an intuitive and unified narrative.” studio toodgood is a part of this years London’s Design Festival where they invite the public to an open studio of their north London canal-side location to experience a “modest, back-room setting” and view her prior limited edition collection ‘BATCH’ which has now been made accessible through small-scale production.

REQUIRED READING

A U C T I O N  S E A S O N  must have catalogs 

PHILLIPS de PURY under the influence, september 20

PHILLIPS de PURY design, september 27

WRIGHT living contemporary, september 27