Texture - Issue 3

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Imagined Designed Crafted

COMMENT Welcome to our third instalment of texture magazine. We have continued to push the boundaries of design and create a publication that is as pleasing to the eye as it is to the touch. Our philosophy is that an experience must appeal to all the senses, and we try to achieve this through the use of different papers to enhance specific articles. Article selection takes several months as we try to curate projects and products which vary in style but are rich in texture and have a unique visual appeal. This issue features a local street artist who goes by the name of r1, and we were blown away with the work he is producing both locally and internationally. The transformation of urban landscapes is mesmerising, and we are delighted to share not only his work but also the incredible interview we had with him. Our intention has always been to produce a publication that continually evolves and surprises. After months of work and continual refinement we believe we have achieved this with this issue. We hope you enjoy Texture #3 as much as we did researching and putting it together. Texture magazine is available online as an interactive digital publication as well as a physical print version which is available to read in our Johannesburg showroom as well as our new Cape Town showroom. The blu_line team.


Design with the end in mind

112 - 103 T E X T U R E - P O LY C A R B O N AT E The productive and directional functions relate to the landscape without mimicry. The spaces are designed with the aim of establishing a constant relationship between interior and exterior

102 - 95 SENSORLINE 4.0 Sensorline 4.0 by blu_line, redifi ning the future of kitchen technology. When great design, technology and aesthetics all come together.


92 - 85 T H E H Y P N OT I C U N I V E R S E O F K R OY Through the special collaboration of KROY, singersongwriter Camille Poliquin, present at all stages of this performative architectural creation.

84 - 77 Z HOUSE A place to live an intense relationship with nature and the mountains.

A R CH ITECTU R E 74 - 67 U R A W I N D O W D I S P L AY ‘Ura’ considers the relationship between the individual and consumerism through the use of a dynamic interplay between structure and product.

66 - 59 S H O R T LI S T F O R A B B AWA R D S The ABB LEAF Awards Judging Panel announces the official shortlist Comprising best new architecture, planning and development projects

I N N OVAT I O N 56 - 51 BERLIN BAR MOSCOW Almost 30 years after the fall of the wall, Berlin is still a synonym for dynamic change, for culture, free spaces — and for a nightlife without limits.

50 - 45 MIELE Real creativity happens when you dare to go beyond the comfort zone. The new Generation 7000.

44 - 37 ST R EE T A RTIST R1 “I have always battled with the fact that I don’t want to be confined within any one medium of art. I enjoy leaping into different medium and I hope this process never stops”.

D E TA I L S 34 - 27 RES PECTED BY GAGGENAU “By focusing on the meaning of respect, the concept’s underlying message highlights the necessity of protecting, preserving and cultivating uniqueness”.

26 - 21 PA N T H A L A S S A S A I L I N G YA C H T Panthalassa - which translates from the Greek as ‘all the sea’ - combines the space and comfort of a motor yacht with the pace and agility of a racing craft

20 - 13 KITCH EN STO RIES A residence in Silver Lakes by blu_line.

I N F_ L U E N C E Unu Scooter / Axor, MyEdition / PIN / Homefarm / Kolho



Photo credit: Tobias Colz

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T h e P ra t i c H ea d q u a r t ers , d i a l o g u e w i t h t h e e a r t h a n d t h e s k y , w i t h l i g h t a n d s h a d o w .

The intervention involves and integrates industrial volumes and vast open spaces. The buildings are related to the earth and the sky, with light and shadow. The productive and directional functions relate to the landscape without mimicry, and the spaces are designed with the aim of establishing a constant dialogue between inside and outside. The building thus becomes a comfortable and functional landmark. The typological plant includes an office building, a showroom, research and innovation laboratories, spaces for production, painting and warehouses, plus a wellness area for employees. All these functions are linked by the design of open spaces and parking lots, defined by the embankments modelled along the roads, by the spaces dedicated to relaxation and meeting, and by the control of the views on the landscape. It is an industrial building in constant relationship with the natural landscape.

The Pratic Spa, a manufacturer of solar shading systems, is an industrial site where the architecture for production becomes a contribution to the landscape and reinforces its identity.

The Pratic Headquarters dialogue with the earth and the sky, with light and shadow. The productive and directional functions relate to the landscape without mimicry. The spaces are designed with the aim of establishing a constant relationship between interior and exterior. Thus, Pratic becomes the landmark of the landscape.



The new building consists of two simple elements: the rhythm given by the windows, which repeats and declares continuity with the existing facade, and the reflecting skin, which dissolves the new volume in the sky. The first lot, black and grainy, seems to arise from the ground, settling the building in place; the second lot, always black but reflective and iridescent, mirrors the landscape and the light with images that are always different due to weather variability. The first one is “heavy” and permanent, in search of eternity, the second one is “light” and changeable, ready to dissolve in the sky: the building completed the molt of its skin.


The facade consists of a single material, of a unique size: a 4 centimeters thick polycarbonate panel, about 10 meters high, fixed to a prefabricated concrete structure. The polycarbonate panels are customized in order to obtain a reflecting facade when seen from afar and “deep” when observed closely. The panels consist of two different types of polycarbonate combined together: the rear side has an opaque compound which impedes the light to pass through, while the front is “frozen”. In this way the load-bearing structure is completely hidden behind the cladding system and the verticality of the new facade sets up an interesting dialogue with the black concrete panels of the existent building. From afar the building reflects the sky and appears cladded by huge glass plates, while close up it looks “lighter”, maintaining a dialogue with the pre-existence. The mirroring of the panels also ensures a continuous colour variation of the facades: depending on the time of the day, and varying in light intensity, the building may appear black, golden, metallic, opaque, glossy - infinitely variable.

Sensoline 4.0 blu_line

A d a p t to y o u r e n v i ro n m e n t

J o u r n e y o f t h e f u t u re

K i t c h e n a r c h i t e c t u re 4 . 0



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T h e h y p n o t i c u n i v ers e o f K R O Y

89 + KROY Through the special collaboration of KROY, singersongwriter Camille Poliquin, present at all stages of this performative architectural creation, discloses her method of work to the students of architecture at University Laval. The development by successive layers of interventions, the rhythms, sequences, nuances and variations identify the artistic vision of KROY. Unveiling a musical piece composed specifically for this project, she guides them to illustrate her creative approach in an architectural installation, intended for the video capture of a musical clip. + Workshop 3500A18JV/School of Architecture/ Laval University Jean Verville proposes methods of ideation transposing the intervention into a strategic tool allowing, at the same time, to tame the collaborative work, to make comparisons between the elaboration and the materialization of a concept, and to verify the concordance between the perception and real impact of the proposed spatial experience. Orienting the research and creation process in an exploration of spatial fragmentation, Verville coaches his students to develop a proposition exploiting abstraction and corporality. The elaborate concept, a manageable architectural object, versatile and expressive, reveals multiple scenographic compositions, as well as a facilitated and economical implementation. + Maxime Brouillet Photographer With the accomplice of Verville’s intriguing photographic proposals, the photographer Maxime Brouillet, the architect, leads his group of students in a farandole, enjoying the architectural elements’ dynamics of fragmentation and reunification to reveal the infinite possibilities of this ephemeral proposal. This new stage leads the group to work on in-situ adaptation of the elements in order to explore the different assembly possibilities, while preserving the installation’s structural and formal characteristics.


The hypnotic universe of KROY becomes the source of impulse of this performative video installation, resulting from a multidisciplinary experiment combining music, architecture, video and photography. Jean Verville, architect and professor at Laval University’s School of Architecture, invites his 3500A18JV studio to create a versatile and expressive architectural object, revealing multiple scenographic compositions supported by the photographic work of Maxime Brouillet. Jean Verville Architect + Professor Architect Jean Verville presents interventions that contribute to the current de-compartmentalization of artistic disciplines. Developing propositions with singular characteristics, the architect values facets of space animating the emergence of new modalities of appreciation of architecture. Newly appointed professor at the School of Architecture of Laval University, in Quebec City, Verville introduces his students to a collaborative-creation process in a context of experimental workshops. Introducing a dialogue between architecture and various artistic disciplines, in order to examine new ways of defining space, these workshops encourage assembly and fusion to propose the integration of an artistic position in the architectural project.


Video Artist: KROY Production: Camille Poliquin DOP + post production: Adrian Villagomez Colorization: Charles-Étienne Pascal

Graphic design Achille Breysse

Photography Maxime Brouillet

Workshop 3500A18JV School of Architecture/Laval University Achille Breysse Francis Brunette Sara Bursikova Louise Cancel Alex Clavet Guillaume Couture Marion Delahay Jonathan Estrade Rosemonde Gadoury-Salvail Steven Girard Zachari Guay-Hébert Walter Lopez-Echeverry Noémie Marcellin Justine Rioux Marie-Ève Thibert

KROY Camille Poliquin

Studio Jean Verville architect: Jean Verville Tania Paula Garza France Goneau


A p l a c e to l i v e a n i n te n s e re l a t i o n s h i p w i t h n a t u re a n d t h e m o u n t a i n s .

Z House


The site on which the house is placed is a complex place, with a steep slope, access uphill, a few buildings around and full of panoramic “frameworks”. The approach path is thus one of the key points of the project. The arrival is a precise and inevitable sequence: the road climbs steeply, the house shows itself from afar in the middle of other buildings, then hides and then reappears in a scenic perspective from the bottom where you can feel the whole size of the building. To enter inside, however, it is necessary to turn around with an obligatory, necessary path, in which the perception of the house gradually loses the built context and merges into the natural one. During this journey of “passage” it becomes gradually smaller, the scale is reduced and from a volume of three floors you then get to a small and solitary monopiano volume, framed only by the landscape.


The choice of orientation of the views determines the plan of the house: to the west there is the access, with all the service volumes, to the east a large living area that looks into the distance towards the point where the valley continues and offers bright panoramas.The list of functions requested by the owners is rich and complex, and it is divided into a plant with two juxtaposed volumes which are divided into sections with different heights, following the conformation of the land. The large living area is located at the entrance level and combines the two volumes into a single fluid space, while the other functions are divided. The master bedroom area is on the upper floor, overlooking the double storey section, while the other bedrooms, the sauna and wellness area are located on the lower floor. This section achieves two objectives: one external and one internal. From the outside the house seems to “slip� on the ground which is inclined and fluid. The house is light and there are no terraces or other violent works which could impact negatively on the landscape. From the inside, the volume of the living area is defined by an impressive exposed concrete roof, which follows the slanting of the two volumes with different heights. It creates the impression of entering the mountain.


The materials which make up the project reflect the basic ideas. The construction is in concrete, but it is visible only inside. The exposed concrete floors and ceilings, suspended on glass façades, accentuate the lightness of the roof. From the outside the house is characterized by an external “skin” made of wood, like much traditional alpine architecture. Today this facade loses the traditional functions related to agriculture and breeding, and becomes a sun breaker - a necessary element of solar control and energy-saving. A fundamental architectural occasion. The theme of lightness is guided by the design of the external sunshade (made of vertical larch blades) which surrounds the whole building, regulates the relationship with the light and the panoramas, and invents a filter space between the internal (private) world and the outside (public) world. The wooden blades have different orientations as they are sometimes rotated and the spacing is not constant. They open up to let you see but they are also often hidden. They control the internal relationship between inside and outside, and so the light vibrates and changes constantly on the outer “skin” of the house. It is a subtle and iridescent vibration, with the light of the Alps.



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U ra W i n d o w D i s p l a y


Fourteen waterproof raincoats are suspended from seven bi-compartmental metallic structures strategically placed on the ceiling of the store, simulating drops of water. The shoppers’ attention is therefore drawn directly upwards to the product creating an immersive environment for customers. Partially hidden details, such as bespoke carbon fibre rod supports, have been designed in order to achieve an optimal shape for each of the jackets which are numbered correlatively by a keychain attached to the hanging system, giving the installation the appearance of a production line.


‘Ura’ considers the relationship between the individual and consumerism through the use of a dynamic interplay between structure and product. The social interaction between groups / individuals and material objects is changing and, as such, it is important to create shopping experiences which attract and draw in potential shoppers. Aside from the concept and the design of an unusual metallic structure, one of the most interesting aspects of this window installation is its occupation of an unconventional location, suspended above eye-level from the ceiling. Whilst this is not the most commercial location in which to display a product it is, along with the use of lighting, the key element of the project, drawing and focusing the attention of shoppers on the product. Indirect lighting is used in order to avoid awkward shadows and provides the installation with an ethereal atmosphere. A clean typography frames the window for passers-by to gain editorial insight into the apparel.

Shortlist for ABB LEAF Awards


Courtyard No. 1, Shandong, China Photo credit: AOE


The ABB LEAF Awards Judging Panel announces the official shortlist Comprising best new architecture, planning and development projects. From China to Switzerland and many more the shortlist includes projects of all scales and complexities from across the world. All of the shortlisted projects include buildings that are setting the benchmark for the international architectural community.

The Kensington, London, UK Photo credit: ZHA

Photo credit: ZHA

Nanjing International Youth Cultural Centre, Nanjing, China


Photo credit: Marcy Wong Donn Logan Architect

Uber Advanced Technologies Group Research & Development Center, San Francisco, US




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B er l i n B a r , M o s c o w

Almost 30 years after the fall of the wall, Berlin is still a synonym for dynamic change, for culture, free spaces — and for a nightlife without limits. Thanks to this special Berlin atmosphere, bars and nightclubs which carry Berlin in their name and with it the promise to transfer a unique experience, pop up all around the globe.


Invited by gastronomes to design a Berlin Bar in Moscow, Berlin-based architect Thilo Reich—a fixture in designing gastronomical spaces—proposes a radical yet poetic translation. His concept transfers the public space of Berlin into an interior space of Moscow. He creates, within the intimate and small bar, a public and social space with concrete wall reliefs of Berlin sidewalks. The castings of pavement segments, which the architect took personally from public places in Berlin, relate to the exchange and history between Berlin and Moscow: The sidewalk in front of Café Moskau, the former demarcation line between the Russian and the American Sector, Glienicker Brücke or the district of Charlottenburg, which traditionally has a large Russian population. The pavement stones formed by the history of the city and its people, hold traces of city life and political changes and are—with the exception of the historic Stolpersteine—a widely unnoticed aspect of daily city life. Through an abstract stone image made up of concrete, Thilo Reich offers us a glimpse into the myriad Berlin histories that are stored within them. As a side effect, the vertically propped up ground plates cite prefab buildings that dominate Berlin’s cityscape and the artistic reliefs that are often found on facades and in foyers of socialist architecture. The design concept connects Berlin with Moscow— and yet with the roughness of the grey wall panelling, the minimalist use of concrete contrasts with the often colourful and golden interiors of gastronomical establishments in Moscow. Unique for Berlin are the patterns and arrangements of the pavement stones that are translated in the castings, as are the prefab concrete stones Thilo Reich uses for the tabletops and the bar. The pavement plates—since GDR times available in five standard forms—are now table surfaces with fine brass lines and a massive bar that is compiled of the five forms into a three-dimensional object. Berlin’s urban street elements as a script for the design of the bar runs through Thilo Reich’s entire design concept. A narrative that consequently picks up on traces and moments of Berlin life: the bar lamps—on first view glowing and winding bands of light weaving through the room—are made up of modules of East-Berlin street lights. The substructures of the brown leather benches are made of simple beer benches— once imported from Southern Germany, now an integral part of Berlin’s streetscape. Further details such as hand-blown cocktail glasses with the same diamond structure as the tables, or a mirror made of reflecting window panes of the former Palast der Republik, tell of the attention to detail of the architectural concept that also foresees to only use materials from Berlin and have everything produced in Berlin, as well. In the spacial design, past and present, history and snapshots are closely entwined. The Berlin Bar recalls the historic connection between the two cities and equally celebrates Berlin’s present, the unfinished, the rough, the urban. In large, dark illuminated letters BERLIN beams from the wall, disposed of its purpose as a company advertisement in the former Russian sector in Berlin, while the night is being danced away on Moscow parquet flooring. Thilo Reich is an award-winning Berlin-based architect and interior designer. His studio’s work ranges in scale from furniture to architecture, with a strong focus on architectural craft, detailing, and on the characteristics of the site. His professional goal is the creation of innovative spaces which combine modern concepts with personality, cultural awareness and comfort. Thilo Ferdinand Reich was born in Stuttgart, Germany. He studied architecture at the Technische Universität Berlin and worked in the offices of Foster and Partners (London), HPP Laage und Partner (Stuttgart), Die Baupiloten (Berlin) and Delugan Meissl Associated Architects (Vienna). In 2009 he founded his own studio in Berlin-Kreuzberg.



I T ’ S A L L A B O U T P U S H I N G C R E AT I V I T Y T O N E W L E V E L S

Innovative technology for perfect enjoyment by MIELE Real creativity happens when you dare to go beyond the comfort zone. When you have the vision to question the ordinary, the norm, the tried and tested – to reach a place where nobody’s been before. Since 1899, Miele has been a family-owned company committed to pioneering the future of kitchen products. For over 120 years, the Miele logo has stood for technology that does more than just open up new possibilities – it also elevates your sense of enjoyment to new planes and ignites creativity. “Immer besser” – or “forever better” – has been the guiding mantra coined by founding fathers, Carl Miele and Reinhard Zinkann, and still this restless quest for always enhancing and taking products to the next level characterizes Miele to this day.

A world of cooking without compromise Cooking is about the freedom to let your creativity unfold without obstacles or compromise. It’s about unleashing your passion without limiting ambition. With the new Generation 7000, our team of inventors wanted to inspire a creative kitchen that’s, technologically speaking, so superior it feels like magic. We’re dedicated engineers and reliable partners, creating approachable technology that is always one step ahead. This range of over 350 appliances delivers a world of innovation that reduces distractions and overcomes unnecessary interruptions. You are now in control of your kitchen experience like never before, with free reign to experience a new state of perfect and go beyond the ordinary.

Creating the perfect flow for an exceptional kitchen experience We define flow as an effortless, smooth, focused and harmonious state that you find yourself in when all other conscious actions are not hindered by unnecessary steps or friction. When something works in perfect harmony with you and you’re at one with your task, it feels as if you have entered a dimension of freedom where everything happens intuitively, guided by your subtlest command – that is flow. Miele allows you to stay focused on cooking rather than be distracted by unnecessary steps. Every task is managed intuitively with ease and comfort, nothing seems too complicated. You can completely rely on your appliances as your enabling partner in order to consistently achieve exceptional results. With the new Generation 7000, we wanted you to have technology that aids you – a seamless kitchen experience that’s not just about the outcome but the process itself. Consistency, painstaking care and expertise in construction, use, and design make all the difference.


“Technology creates possibilities, but that’s just the beginning.”


To celebrate the biggest launch of kitchen appliances in Miele’s history, we brought together innovators from different creative fields: game-changing cooking technology, three of the world’s best chefs and a renowned floral installation artist. This outstanding creative collaboration celebrated in a completely new way is what going beyond the ordinary really means. Gaggan Anand, Kyle Connaughton, and Helena Rizzo are all highly awarded chefs, recognised with everything from Michelin Stars to the top positions in global rankings. Azuma Makoto is a renowned Japanese artist, famous the world over for his breath-taking floral sculptures. Together, they all took up the challenge of finding out how far they could push their craft with Miele’s new Generation 7000 kitchen appliances.

STREET ARTIST r1 I have always battled with the fact that I don’t want to be confined within any one medium of art. I enjoy leaping into different medium and I hope this process never stops.


r1 WHO ARE YOU? I am a street artist who goes by the name r1. I’m an installation artist; my work is concerned with how city objects and spaces can be transformed to create new forms of narrative. I have explored many different approaches over the years but am recognized for my signature style working with street signs. There is also a strong design element in my work. WHAT ATTRACTED YOU TO STREET ART? As a child, graffiti fascinated me, and it was the act of expressing yourself ‘in the street’ that captivated me. I liked the idea of expressing oneself without expectations or boundaries; and through this process become part of one’s environment. This creative expression was what I wanted to explore, but it never evolved through graffiti. It was only after my fine arts studies at University that I started developing my own language within the street. I wanted to interact with the city through interesting ways Tell us a bit about your style? Each of the media creates different conversations. From my point of view, the more conversations, the richer the dialogue will be. My work within each of this media is also constantly changing, but at the moment they are visually different and aim to trigger different reactions. For instance, the walls are darker, abstract and complex; they almost portray an alternative mysterious reality on the other side of the wall. The interventions are more colourful and playful, often questioning existing boundaries (for instance my work with the barrier tape particularly relevant in the South African context with many visible and invisible separations). I have always battled with the fact that I don’t want to be confined within any one medium of art. I enjoy leaping into a different medium and I hope this process never stops.

I’m currently working on new designs that are directly inspired by barrier tape. I’ve been familiarizing myself with its creative possibilities over the last couple of years and also have been closely working with tape manufacturing companies to print customized tape. I’m using specific adhesive tape and resin casting for exhibiting works. There are limitations with the material but what I love about barrier tape is that, as I play with it, the designs of the tape-works are revealed to me.


I’m a strong believer that if you push out good original quality work, be consistent and strategic, opportunities will lead new projects.


I don’t necessarily have any favourite project. It varies from time to time, but the final execution of any project is more important to me than whether I like it or not.


I find inspiration in my immediate environment; it can come in any form or creative output. I usually do not need to do anything special to tune into a creative mood – inspiration finds me when I am active, when I am working. I explore the city, I see familiar places and objects we take for granted, so much that we don’t see them anymore. I like to play with familiarity and raise questions… what if it would be different? Raising my own questions and presenting a visual alternative often creates a dialogue within the city, driving a new loop of creative thoughts.



Street art has definitely grown over the last decade and has become more relevant within the contemporary art world. But the character of street art is that it has freedom to move in and out of the contemporary art world and not be dependent on any trends.

Street art is never restricted. I believe it is different to most other art movements because it is not limited within a specific space. The ‘nature’ of the street is never to retract; the streets only expand.


It takes a long time to achieve maturity in one’s own work. I believe that each artist goes through his/her own journey and it is important to have an intimate relationship with that journey. This personal relationship is significant because one is not bound by others’ expectations. I am grateful that people can appreciate my work and they do so in many different ways. But in the end, people’s opinions can change, and the only thing that will remain, is the artist’s unconditional commitment to his/her own practice.


I appreciate artists who work with ambitious projects. Anything that pushes boundaries, is big in scale, engages in environmental effects or strong concepts, blows me away. Artists like Anish Kapoor, Olafur Eliasson, JR and Filipe Pantone.





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However, some are more interested in the quality of the end product and appreciate the skills that go into a handmade item or a rare breed nurtured for generations. Gaggenau believe there is an argument for retaining these traditional proficiencies. They practise what they preach by blending mechanisation and laser cutting with hand checking, hand assembling and hand finishing in their factories, because it is the skills of their craftsmen that make an appliance a Gaggenau. Which is why they aim to support likeminded craftspeople and preserve their skills: they are Respected by Gaggenau.

Economies of scale, mass production and mechanisation have all made the unaffordable, mainstream. In the relentless striving for efficiency, the traditional ways fall out of favour and the concept of exceptional quality is sometimes lost.

Respected by Gaggenau

“By focusing on the meaning of respect, the concept’s underlying message highlights the necessity of protecting, preserving and cultivating uniqueness”.


Craftsmanship and Gaggenau go hand in hand, and this is the same thread that will tie the ‘Respected by Gaggenau’ initiative in with the luxury kitchen brand.” - Sven Schnee

Gaggenau appliances are crafted with a blend of mechanization, hand assembling and hand finishing. It’s the skill of their craftspeople and the love that goes into their products that makes Gaggenau appliances unique. ‘Respected by Gaggenau’, aims to support likeminded craftspeople who go above and beyond to create something exceptional within their field of expertise.”

The new, Vario cooling 400 series, inspired by grand architectural statements, has been designed for those who appreciate the aesthetically advanced; setting a precedent for a booth concept synonymous with these design principles. The new range comprises a portfolio of refrigerators, freezers, fridge-freezers and wine climate cabinets. Combining modularity with the smooth lines of seamless integration, these sculpted appliances redefine the landscape of the modern kitchen. The brief was to create a design concept that would place a spotlight on the new cooling range. Therefore, long-standing partners, architectural firm einszu33 led by Hendrik Müller and Georg Thiersch, deconstructed elements of grand architectural statements. The result of this process is the ‘Gaggenau Home’: a sequence of architectural gestures that correspond with the rituals of domestic culture. A full-scale representation of an aspirational domestic space: the ’Gaggenau Home’ is focused around an open-plan kitchen. The home includes an entrance area, garage, living space and garden, all united and interconnected with authentic materials, light and details. Visitors to the booth will experience the true nature of Gaggenau; where appliances, consideration for the culture of living and contemporary architecture coalesce, to create the ultimate architectural statement.

Be progressive, look back ‘Respected by Gaggenau’, is their commitment to supporting like-minded artisans, who value quality above all else. From the farmers preserving rare breeds or growing heritage grains, to the craftspeople handmaking superb produce using ancient techniques: these are their peers.

Pa n t h a l a s s a , s a i l i n g y a c h t b y Fo s ter & Pa r t n ers


Panthalassa - which translates from the Greek as ‘all the sea’ - combines the space and comfort of a motor yacht with the pace and agility of a racing craft. With an innovative lightweight hull and mast and a maximum speed of 15 knots, the 56-metre ketch is designed to evoke the thrill of sailing and reinforce a connection with the water. The interior concept articulates the boat’s structural form within the living spaces - the aluminium hull is expressed and complemented by a simple palette of natural materials, such as teak and saddle leather, to create a discreet sense of luxury. The yacht has a capacity for up to twelve guests and a crew of ten, and incorporates a range of spaces, from smaller, more private retreats to flexible, open living areas. The three levels - a fly deck, the saloon deck and the guest and crew quarters below, are connected by an oval stair, which is surrounded by a screen of lightreflecting rods to project daylight back into the living spaces. Skylights are also used to draw daylight down into the heart of the boat. In the main saloon, the lounge, bar, library and boardroom are opened up to create a generous central space. A glazed wall between the boardroom and the captain’s deck maintains a sense of spatial continuity. The saloon deck features a variety of places to relax and an informal outdoor eating area, complemented by a more formal dining space inside. Along with storage for jet skis and two pascoe tenders, the yacht also features state-of-the art entertainment and communications equipment, discreetly integrated into the furniture and interior panels. Rather than a single owner’s suite with smaller guest quarters, Panthalassa’s six individual cabins share similar proportions. Within these cabins the storage and service areas are located towards the centre of the boat to allow the curve of the hull to be exposed and the number of portholes to be increased to maximise daylight and views. An organic, curved chaise-longue lines the hull of each cabin to provide informal seating, and a marble wall divides each room from its own private bathroom.




A residence in Silver Lakes Es ta te by blu_line



This well-designed home was created around the needs of an energetic family. The architecture flows freely from area to area, with a combination of both subtle and dramatic points of interest throughout the space. The monoline collection by blu_line was the perfect choice for the home, allowing for seamless integration with the kitchen’s subtle details and sleek lines, whilst still adding a sense of drama.


A delicate balance of contrasts is instantly evident on entering the kitchen. Trademark characteristics such as the flat units, sleek cabinetry and exquisite attention to detail immediately identify the iconic blu_line brand. Another unique aesthetic in this kitchen is the thinner profiling, which pairs beautifully with the combination of materials and textures that have become synonymous with this specialist brand.



With materials being one of blu_line’s critical elements in their design ethos, a low key, yet luxurious aesthetic was achieved by using smoked timber contrasted with truview glass to finish the walls. The soft colour palette combined with subtle reflection gives this space an ever-changing dynamic which exudes a sense of sophistication and unique authenticity.

Inf luence

UNU SECOND GENERATION ELECTRIC SCOOTER Unu completely redesigned their classic scooter, drawing on help from partners including Bosch and LG. The new scooter features a Bosch hub motor mounted in the rear singled-sided swingarm and removable batteries made by LG. The 1.7 kWh and 10 kg (22 lb) batteries are rated for 50 km (31 mi) of range each. With space for two batteries, the electric scooter has a maximum range of 100 km (62 mi) with 3.4 kWh of battery capacity. The seat is large enough for two riders and the scooter features fold out pillion pegs for the second rider. The seat is also contoured near the front to make it even more comfortable for the rider’s legs. Unu claims that the company’s second generation scooter has one of the largest underseat storage compartments of any electric scooter. In addition to space for two batteries, the scooter also has room for two 3/4 helmets under the seat. But how it stacks up against Etergo’s Appscooter, which has enough storage space to fit an entire case of beer, remains to be seen. The new Unu scooter has a top speed of 45 km/h (28 mph). Stopping power comes from front and rear hydraulic disc brakes as well as regenerative braking via the rear wheel. The scooter interfaces with a smartphone app that provides functionality for GPS navigation, remote monitoring of the scooter’s vitals and state of charge, a digital key to turn the scooter on and off, anti-theft via GPS location and digital key-sharing to allow friends to walk up and use the scooter.


The clear, straightforward design of the AXOR MyEdition fittings line provides customers with a stage for expressing their own personality and creativity. The fittings consist of two parts: the body and the plate. That opens up new scope in terms of brown shades for the washbasin and a cosier feel for the bathroom.

AXOR MyEdi tion fi tting line

PIN Foster + Partners and Lumina have had an extremely fruitful relationship that began with the iconic Flo lamp. To celebrate the 10-year anniversary of the partnership, the practice has designed a series of luminaires that explore the mechanics and poetics of reflected light. All three lamps embody an honest aesthetic that is inspired by their function, the process of making and the tactility of materials. Pin is a small lamp that can be used as an intimate source of light for the bedside or table-top. It has a single anodised aluminium and CNC-machined stem that contains a single LED light source. The light is reflected off the inside of a circular top containing a bespoke flexer that distributes the light evenly around the stem. The light can be dimmed or brightened by lightly touching the top of its circular top and is available as mains powered or with a rechargeable battery in a range of metallic finishes.




Enjoy access to the freshest, most nutritious and delicious produce from the comfort of your home. With Homefarm you can effortlessly grow your own organic crops and incorporate them into your daily diet. It’s cultivation simplified. blu_line collaborated on aesthetics with Homefarm to offer an exclusive product for their clients which would integrate visually into a blu_line kitchen. Homefarm provides a simple, elegant and reliable way of cultivating a wide variety of microgreens and microherbs, in a fully automated crop growing appliance. An optimal micro-climate is created for your crops by controlling things like humidity, temperature, lighting and watering.

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KOLHO_MADE BY CHOICE Kolho is a series of tables and chairs formed of right angles and serpentine forms. It is inspired by the Apollo landing and a small town called Kolho in Finland. The serpent represents temptation and chaos which supports the flat plane of reason. The space between Reason and Chaos is that of PLAY. Matthew Day Jackson is an American artist whose multifaceted practice encompasses sculpture, painting, collage, photography, drawing, video, performance and installation. Born in Panorama City, California, in 1974 and currently living and working on the East Coast, his art grapples with big ideas such as the evolution of human thought, the fatal attraction of the frontier and the faith that man places in technological advancement. In particular, his work addresses the myth of the American Dream, exploring the forces of creation, growth, transcendence, and death through visions of its failed utopia. Matthew Day Jackson on Kolho “Kolho, a small town in Finland, and a word that eludes definition in English but can be described as meaning vacant, hollow or even creepy. I happened upon Kolho while visiting the Serlachius Museum where a show of my paintings and sculptures, Maa, opened in May 2019. A conversation with curator Timo Valjakka led to a tour of the nearby Formica factory, which led to meeting Niclas, Sebastian and Lasse of Made By Choice; which led to meeting Phil, Eva and Virginie of Formica… All of these serendipitous meetings developed into an obsession with creating a dining setting. The story of Apollo, as both a NASA mission and the Greek God of Reason, is the genesis of this project. Apollo’s brother, Dionysus, reigns over ritual madness, theatre, pleasure, fertility, and of course, wine. The two contradictory temperaments meet at this table: the flat, rational plane of the table sits upon legs that curve and wind like a serpent or grapevine. The tables and chairs are sculptures that evince dining as theatre. They create a space to share and create stories, with a Formica surface that promises to always wipe clean. In designing this furniture, I was seeking the space between Reason and Chaos: the state of PLAY. This is the space where our human animal shows its greatest self.

Design with the end in mind.