VOLUME 04 ISSUE 02 APRIL - JUNE 2021
DESIGN CONNECT PROMOTING GOOD TASTE
AN IMMERSIVE EXPERIENCE
SMARTVOLL ARCHITECTS DESIGNS THE SPA PAVILION IN AUSTRIA
IN CONVERSATION WITH FILIPPO CRISTINA ON HIS BRAND TATO ITALIA
IN CONVERSATION WITH DUTCH DESIGNER ROBERT VAN EMBRICQS
PHOTO FEATURE WERK12
A MIXED-USE BUILDING BASED IN BASED IN WERKSVIERTEL-MITTE
Rs.100
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esign as a mechanism to enhance our lives makes way for thoughts and ideas which can seem quite provoking to our senile minds. But in the real world such experiments with form, function and perception are executed with a precise creative approach. One of the examples of this technique is the SPA Pavilion executed by Smartvoll Architects. In our conversation with Dimitar Gamizov of Smartvoll Architects, Gamizov points out that this design approach is akin to iterative design which allows designers to look at the deeper aspects of the space being designed. It is also an attempt to ensure that that apart from the pragmatic and technical queries which arise, the client’s needs and wants are also taken care of.
Editor’s Note
The needs and wants usually differ from client-to-client basis but all such distinctions are driven by the desire to stay relevant in the present timeline, like one of the Gurgaon based projects designed by RSDA. The occupants of this beautiful home deal with an international clientele. They wanted their abode to reflect the best of both worlds, an essence of Indian royalty in a contemporary way. Inspiration was to be sought from the “havelis” of Rajasthan but at the same time the aesthetics needed to be modern day. Conceivably akin to a beautiful maiden or a bride who makes heads turn, draped in a well-designed patola silk saree, holding a Luis Vuitton handbag. In Italy meanwhile, a new name has forayed in the world of lighting and furniture and most of its exquisite products are being sought out by design enthusiasts. In our conversation with Filippo Cristina, Owner of TATO ITALIA talks about his early inclination towards design, his friendship with the descendants of the most famous Milanese architects and the inception of his brand.
Italian brands and particularly its craftmanship have traversed the creative needs of the past and the present effortlessly whilst looking towards the future. This creative adaptability is perhaps one of the reasons what makes Italian design globally enticing and turns Italy itself into a global hotspot for international designers. One of them in this long list being Dutch Designer Robert Van Embricqs who had also presented his creations at Salone Del Mobile, the annual design pilgrimage for design enthusiast the world over.
Editor Vikas Bhadra vikasbhadra@designconnect.biz Designer Darshan Palav
The designer who is well known for his creation ‘The Rising Chair’ tells Design Connect tells how his own imagination and the wood working techniques of the Maroons in Suriname led to the inception of the now famous product and adds that all his ideal product applications are the ones which transform in response to the variations of nature. This and much more in this issue of Design Connect. Happy Reading!
Design Connect and logo are registered trademarks; any unauthorized use of the same is prohibited. All the information contained in the ezine may not be reproduced whether in part or in whole without the written consent of the editor. Design Connect and its team members accept no liability for loss or damage which may arise out of the material published in the ezine.
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A Contemporary Revision of the Traditional Indian Décor: RSDA introduces a fusion of styles outlines in an abode designed for a modern nuclear family.
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Engaging Young Minds: The Girls Hostel at Mann School nurtures learning without compromising on safety, sustainability and happiness.
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An Indian Homecoming: Taliesyn Architects design a 4BHK-condominium in Bangalore city for an expatriate family.
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An Immersive Experience: DimitarGamizov of Smartvoll Architects speaks on the SPA Pavilionproject executed by Smartvoll Architects in Austria.
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As A Youngster, I Was Exposed to The Works of Alvar Aalto: In Conversation with Filippo Cristina and the inception of his brand TATO ITALIA.
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Photo Feature : WERK12 : Based in Werksviertel-Mitte, the mixed-use building is designed by MVRDV with co-architects N-V-O Nuyken von OefeleArchitekten
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Mobility, Flexibility and Aesthetics: In Conversation with Dutch Designer Robert Van Embricqs.
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The Contemporary Villas by RSDA
THE ANTIQUITY OF INDIAN DÉCOR UNDERGOES A CONTEMPORARY REVISION
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A fusion of styles outlines the journey of spaces in an abode designed for a modern, nuclear family with a work-driven lifestyle.
Project Designed By : RSDA Photo Courtesy : The Architects Warm backdrop with a white and grey palette, cosy and comforting corners, rich jewel tones of the furniture which enhance the luxe of the interiors. In a gist this is what The Contemporary Vilas is all about. Based in Gurugram, this project was designed by RSDA, a multidisciplinary design firm based in Haryana.
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The Contemporary Villas by RSDA
The home owners who deal with an international clientele wanted the best of both worlds; they felt the design of their abode needs to reflect the essence of Indian royalty in a contemporary way. Inspiration was to be sought from the “havelis” of Rajasthan but at the same time the aesthetics needed to be modern day. Conceivably akin to a beautiful maiden or a bride who makes heads turn, draped in a well-designed patola silk saree, holding a Luis Vuitton handbag. In a way the clients were always welcome to an experimental approach to design through detailing.
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The Contemporary Villas by RSDA
Unlike other projects, it was quite easy for the designers to execute this project owing to the client’s consistent engagement. Rakhee Bedi Kumar, Founding Principal, RSDA says “The clients were involved throughout the design process and open to experimentation. They had aspirations for each space which were developed through design and the formal and private spaces were detailed out keeping in mind the maintenance of such spaces on a day-to-day basis. This also helped us as designers to maintain a design connectivity between the different spaces.”
Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
The property encloses living, dining and a lounge room apart from three bedrooms. The segregation aimed at addressing the distinction between formal and private spaces. The use of similar flooring and colour palette helped in achieving this separation in the two. The living and dining areas were treated as a single space, offering the feel of being in a larger one. An attempt was made to achieve a free- flowing space, from one to another. While the rest were differentiated through color palette and choice of material.
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A light neutral colour palette with dark accessories was adopted for the overall approach. The background and flooring were kept neutral, contrast was reigned in by using the jewel tone fabric on the furniture and the accessories which were adorned with a brass and gold finish.
Lighting played an important role to augment the various moods through the spaces. Being an apartment, light differs from time to time during the day. The best time is in the morning or afternoon, when sunlight streams through the formal areas. The light floods the whole house through the large openings that have been provided keeping the liveliness of the space intact.
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The Contemporary Villas by RSDA
The daughter’s room was enveloped in pastels and whites tones throughout. In the master bedroom the neutral tone was offset with the use of multicolour bright soft furnishings, the home office/media room brought out the modern and rustic side of the home with the use of reclaimed cement peat and grey tones offset by bright furniture.
The Contemporary Villas by RSDA
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The Contemporary Villas by RSDA
For artificial lighting concealed dimmable lights in the ceiling, hanging lanterns were utilized. The use of track lights to focus on the artwork and specific areas has been imbibed to create drama. The artworks are a reflection of the client’s travelogue. To ensure the precision of the design narrative, the interior accessories were custom designed. From the brass table, to the mirror-panelled wall at the entry, to the lights next to the bar, inspiration was derived from various art deco elements.
The project served as an element of great professional gratification for RSDA. “The marriage between the neutral palette and the jewel tone accents in the furniture are tied down to form luxurious spaces, without making them lose their functionality,” says Ritu. “The project in one of truest sense,” she concludes, “is an immersion of art into architecture.” Connect Online@www.rsda.in
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The Girls hostel at Mann School designed by Envisage is a definite attempt to create an engaging space which nurtures learning without compromising on safety, sustainability and happiness.
The Girls Hostel by Envisage
Project Designed By: Envisage Photo Courtesy : The Architects
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The Girls Hostel by Envisage
ENGAGING YOUNG MINDS
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The Girls Hostel by Envisage
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Today as the pandemic has given an impetus to online education, however once the new normal sets in, this story will undergo a reform. Hence it is even more essential for educational institutions and campuses need to go beyond the typical brick and concrete structures and instead create a welcoming and uplifting environment for fostering education.
The Girls Hostel by Envisage
Schools shouldn’t feel like regimented structures but offer various visual choices in terms of connection with spaces. Every student should have a connection with their school building, hostel or campus and be able to call it their own so that they are comfortable in the environment. The Girls hostel at Mann School designed by Envisage takes note of all these finer aspects to create a space which responds to the needs as also the surrounding nature. It’s a completely unpretentious, user-centric green building - an ideal example of form getting derived from function.
Meena Murthy Kakkar, Design Head and Partner, Envisage says “Envisioned as a home away from home – the Girls Hostel at Mann School follows an empathetic design approach, offering children a safe learning environment with the freedom to interact, engage and grow. The client was keen to create a safe environment for the girls with all the necessary functional requirements and a multitude of public spaces. Since the hostel building is located within the complex of the Mann School, one of the primary requirements of the design was to blend it cohesively within its surroundings. Functionally, it houses the dormitories for girls from grade 1-12, a study hall, and common recreational areas like a game and television room, a computer room, and a salon, catering to their every requirement in one place.” Design Connect|April - June 2021
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The Girls Hostel by Envisage
The complex of the Mann School follows a designated colour scheme in its buildings, with extensive use of red bricks. While designing the new hostel, it was decided to create a building that was muted and would not stand out. For the design of the new hostel, however the campus’ existing colour scheme of red and grey is maintained, while brick is used as a critical design element on the facades to help it blend cohesively within its surroundings. The use of neutral grey matches Delhi’s typical tones of the sky, which also reduces the effect of the red colour. Spatially, the hostel is spread over three floors, with each floor catering to a different age group of students and the facilities required by them. The residential facilities for younger children (grade 1-4) are planned on the ground floor, so they don’t have to climb up the stairs, thus ensuring safety. The first and second floors, on the other hand, are dedicated to facilities for older students: 4-bedded and 6-bedded dormitories with individual beds and study areas. The infirmary and the salon are also positioned on the first floor to accommodate all the facilities in one place, making the hostel self-sufficient.
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There are various indoor play areas spread across the three floors of the building, with inward-looking terraces to help create a sense of visual connection for everyone, regardless of where they are positioned. Since the building overlooks a central courtyard, all activity areas such as the games room and the computer lab are planned around it in the basement. This is further connected to an amphitheater, where everyone comes together to celebrate and have get-togethers. The space inside the hostel is envisioned as one of fun, enjoyment and loads of interaction under the watchful eye of a warden, whose residence overlooks the same central courtyard.
The South and West walls of the building are made with the rattrap bond, and mud phuska (compacted soil with hay) is used for thermal insulation to reduce the ingress of heat by almost 70%. Comfort is derived from natural weather conditions as opposed to artificial heating and cooling systems. The North wall has numerous fenestrations that offer views of the greenery outside and ensure optimum ingress of diffused light and air into the building.
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The Girls Hostel by Envisage
The central courtyard is precisely aligned in the North West - South East direction to catch the south-westerly winds during the monsoon, thus ensuring ventilation throughout the building. Bricks jaalis are used as partitions between the central courtyard and the peripheral area for ventilation and for the seating in the corridors and the play area.
The Girls Hostel by Envisage
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The design primarily uses Indian stones such as Granite, Kota and Dholpur Stone, which were sourced locally to reduce the usage of resources and unnecessary transportation costs. All the finishes and materials used in the building are low maintenance and affordable - paint and tiles, granite, laminates on the door - keeping in mind that the setting is to be used by young children. Bricks used on-site have been procured from local kilns to reduce the carbon footprint. The windows are made of uPVC, keeping the heat transmission through the glass to a minimum.
The Girls Hostel by Envisage
The design strategy also focused on integrating maximum natural light within the building, which enables well-lit spaces for studying and ensures the mental and physical well-being of the students. The hostel is designed with numerous common study rooms that provide white light through ceiling-mounted LEDs and tube lights to ensure that the spaces are well-lit for students to study and read comfortably.
The Girls Hostel at Mann School takes into consideration all the specific design elements to ensure the space creates a viable and conducive environment to foster learning and fun. In designing this project the architects too derived a great deal of professional gratification. “A lot is going inside the building, which encourages engagement and makes the space student-friendly. Our biggest takeaway from this project, says Meena Murthy Kakkar “is not going with a head full of ideas when a project comes to hand and
giving ourselves a chance to do something new. Beside this, the client’s involvement in the project has been very significant. Usually, as architects, the terms we hear most often are - budget, timeline, and finish. But this was a case where we heard the words - girls, home, safety and happiness more than anything else. This was certainly an encouraging factor and pushed us to give our best as well.”
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Connect Online@ www.envisageprojects.in
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The Segu Residence by Taliesyn Architects
An Indian Homecoming “Taliesyn Architects design a 4BHK-condominium in Bangalore city for an expatriate family.” Project Designed By : Taliesyn Architects Photo Courtesy : The Architects
The Segu Residence in Bangalore belongs to an expatriate family transitioning to the process of adapting to a renewed style of dwelling in urban condominium abodes. With its every weave, the Segu Residence fulfils the homeowners’ aspirations and the vision they had seamed for - a minimalistic home that is modern and elegant in its demeanor.
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The Segu Residence by Taliesyn Architects
The induced design strategy consists of clean-line geometry, a minimalist and homogenous palette of materiality and keen attention to detail. The open floor plan ensures that the spaces are in a constant dialogue with one another, with material interplay at its crux, thereby creating a series of spaces that exhibit a certain degree of individualism whilst melding seamlessly into each other. The apartment offers enchanting views of the dense Bangalore greenery and is caressed by natural light and optimized ventilation across the day. Post sunset lights procured from Endo Lighting Corp, Buster & Punch and Vistosi complement the harmony and effortless fluidity of the interiors. The home’s design journey serves a testimony to the holistic union of the client’s needs and the studios creativity. The home’s initial spatial planning scheme reiterates the large open volumes that flowed into each other, creating distinct (though barrier-free zones) across the linear axial spine of the condominium. The open kitchen, dining, living area, and family nook are the heart of the home and occupy the blueprint’s central axis, where the family congregates. The impetus was to create a large sect of spaces that came together as one large cohesive segment of spaces, although unique in function. The ubiquitous and restrained materials utilized across the home create an uninterrupted canvas of sorts, thereby visually amplifying the spaces’ spatial volume. Doused in neutral tones, the living area hosts doses of earthy hues. The lime plaster-coated walls introduce a sense of amplified dimension via the grooves carried through the flooring pattern. The black shadow line between the walls and the ceiling has been created as a continuous POP band that gives the space an extended sense of visual expanse. The accessories selected have been kept void and light in appearance, not to take away from the minimalism of the walls. The pastel-grey lounge sofa and the TV console unit’s wooden tones headline the visual identity of this nook.
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The Segu Residence by Taliesyn Architects
The Segu Residence by Taliesyn Architects
The home opens into a dedicated pooja room that acts as an extension to the living spaces. Inspired by the colossal temples of Hampi, this niche is a simpler take on the elaborate aesthetic of Dravidian temples of the South complete with a commissioned piece of art of the different deities, grounding the space with its artisanal persona. In the dining area, wooden table-top with paper-edges and sleek, angular black metal legs are paired idyllically with contemporary accents of industrial pendants by Buster + Punch. The crockery cum bar unit in the background is a sleek piece of cabinetry that floats weightlessly against the dark veneer panel in the space whilst performing its storage function.
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The Segu Residence by Taliesyn Architects
The condominium’s kitchen emphasises the functionality facet. Laminam stone and metallic lacquer frames in triangular-edge profiles render the space in a modern light. The monochrome and geometric flooring carry through into the shared spaces — a canvas of statuario marble that engages geometric play via black inlay work to form rectilinear sections.
The Segu Residence consists of four bedrooms. The master bedroom’s aesthetic is headlined by the statement accent wall clad in deep blue silken upholstery; one finds its roots of inspiration in ornate traditional South-Indian handloom fabrics, a modern spin on the classic saree. The colour blue is carried further in the form of the bed-end bench that complements the room’s earthy palette that consists mainly of shades of warm browns. The room walls are finished in a beige lime plaster that gives the surfaces an added sense of dimension. The master bath witnesses the coming together of rectilinear sections of rich brown marble that engage contrasting shades and the interjection of colour in the form of a warm blue vanity unit.
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The Segu Residence by Taliesyn Architects
The first bedroom which belongs to the eldest son celebrates warmer umber wood tones in the form of a grooved accent wall with a soft grey upholstered headboard. The array of sleek metal shelving suspended across the room’s walls are meant to host the end user’s curios and memorabilia. The flannel curtains camouflage with the neutral walls, allowing the space to assume an expansive look and feel. Tones of blue and hints of red make their debut in the form of upholstery and fabric to add a pop of colour to the bedroom. The bathroom of this bedroom witnesses the amalgamation of matte natural grey stone, marble and veneered surfaces that imbue it with a sense of understated luxury.
The younger son’s bedroom is a contemporary take on geometric pattern and colour. The walls are painted in a powder blue hue to pay homage to the end user’s penchant for blue shades. The gridded pattern that envelopes the room mimics the look of subway tiles that complement the lighter wooden tones across the bedroom. The sleek wood and black metal shelving system levitates over the bed while being suspended from the ceiling. Each element in the room responds to the blue-themed narrative of the space. In this bedroom, the ensuite bathroom collages deep black veined marble and natural stone tones that conjure a neoteric design scheme.
In the guest bedroom blush tones and wooden grooved wainscotting add to the drama of design. A play of volumes is accentuated via the curtains that seem to cascade to the floor from the bedroom ceiling. The lighter wood tones across the room harbour a red undertone that plays well off the wall’s warm peach tones. Connect Online@ www.taliesyn.in
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The SPA Pavilion by Smartvoll Architects
THE SPA OFFERS AN IMMERSIVE EXPERIENCE FOR ITS END USERS Dimitar Gamizov of Smartvoll Architects speaks on one of the most recent projects executed by Smartvoll Architects in Austria. Project Designed By : Smartvoll Architects Photo Courtesy : Dimitar Gamizov
What is your idea of good design? Good Design is ideally meant to provoke your mind and make you think. Initially one may have some reservations about it but once it is utilized by the user for some time, the user should be well aware of how the design functions, impacts his life and then fall in love it. To arrive at this level of precision it takes a good deal of work. Hence when we design a space, we look at every possibility which exist. The method is akin to iterative design which allows us to look at the deeper aspects of the space we design. In doing so the idea is to ensure that we have answers to not only the questions which are pragmatic or technical, but also about the client’s needs and wants, after all he is the end user and he should feel good about the space he will probably use for a lifetime or even more.
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So, all these iterative experiments are within the framework of the client brief, right? Yes, every time we deal with a client, we try to understand his needs and desires clearly. As an architect many times we actually have an idea of what the client seeks but we love to seek a clarity from the client himself. Usually, a client would come and say I want to have a big house followed by his wish list. We give it a patient hearing and then probe him like how do you use the house? What do you do more? How do you spend your time in the house? And after we get answers to all our queries, we analyze them, and begin with our iterative designs and tests. What did the client seek, when he came to Smartvoll with the SPA Pavilion project?
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The SPA Pavilion by Smartvoll Architects
The client was keen to renovate an old building built in the 70s and turn it into a private SPA. Given the fact that the availability of land in Austria has been a subject of concern we as architects believe it was a good choice to reuse an existing piece of land or project in a new way. We were keen to add an artsy flavor in this project and design it in a way so that it looks like an architectural caricature spread across the defined sq.ft.area. Even from the images it is quite easy to perceive that it is a foreplay of glass and stone but what one may not comprehend easily is all of the openings are like only glass walls, and they hide in the other walls when they’re open. During summer all these glass walls are open and symbiosis between the outside and inside is sans any barriers which I think a really interesting concept. A lot of people are stunned by the amount of stone utilized in the project but that too plays an important role in blending the division between the interiors and what lies outside. The stone we utilized for this project is Rauris quartzite, a natural stone, can withstand steam, chlorine, the heat of the sauna, and the winter frost without damage.
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The SPA Pavilion by Smartvoll Architects
Also, people do get a feeling from the images that the SPA is in a distant location far off from the city, but quite contrarily the village where it is located is hardly 30 to 40 minutes away from Vienna, the village is well connected by the highway so the commuting to this space is not a problem either.
Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
Considering this is a SPA what was done to infuse the desired amount of tranquility in this project?
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To create an atmosphere of relaxation it was very necessary to ensure that the project has some kind of connection to nature itself and in this project, the use of Rauris quartzite plays an important role in achieving this. As an observer if you visit the SPA you may comprehend it as a well-designed cave. The geometry is artificial but the materials and add to it the shadow play achieved by the sunlight on the structure, it looks quite natural. The foreplay of light on glass and stone actually adds deeper layers to this embodiment of tranquility and helps its occupants relax. This haven of tranquility has seven dedicated areas which includes the shower, sauna, toilet, the bar, pool, the steam bath and whirlpool.
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The SPA Pavilion by Smartvoll Architects
Rauris quartzite for the project was procured from Austria itself as we insisted on having the product coming from the same country first of all environmental reasons secondly, because of the quality of material is unique. It does not freeze nor does it crack up at high temperature. Hence for us it also turned out to be a material which could be used in the steam bath, in the interiors, in the exteriors, basically everywhere. The uniformity this project reflects as a result of the material used also adds to the tranquil effect. Besides I would also like to add that even though Rauris quartzite is an expensive choice, the eternal tranquility it adds to the project will last for ages.
The SPA Pavilion by Smartvoll Architects
What according to you is one of highlights in the way which the interiors was segregated or designed? A staircase behind the bar descends to a former underground passageway connecting the villa and the bathhouse, which was previously used as a bowling alley. Glass elements now structure the elongated tube, marking the various exercise areas. The Rauris quartzite creates a rhythmic harmony together with the vertical moss plantings, architecturally uniting the underground gym with the aboveground bathhouse.
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The SPA Pavilion by Smartvoll Architects
What kind of artificial lighting was used to add the feeling of gentleness and mellowness? To maintain the aura of the space we used concealed lighting in the form of LED strips. They were concealed in the wall itself. To an observer it will look as if strips of the wall itself is illuminating the spaces around it with an intensity which projects like this desire. Dimitar Gamizov
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The SPA Pavilion by Smartvoll Architects
To what extent will you rate this project as a sustainable one? To a limited extent yes, it is sustainable. We have used concrete in the project and concrete as we all know is sustainable. Also, the use of natural stone over some artificial materials which need a lot of processing and are ultimately not usable certainly is one other factor which reiterates this fact. Having said that the stone itself has been taken from nature itself. So yes, it is sustainable to a limited extent.
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Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
The SPA Pavilion by Smartvoll Architects
There are quite a number of things to like in this project, but what is that one aspect about this project that you like a lot? If you move, like inside the space, it’s so immersive I think, for me personally creating an immersive experience for the users of this project is one aspect I am proud of. An integration of the stones, slabs and glass to create a proper association between the interiors and exteriors in a way is another, owing to this association, one doesn’t feel disoriented while entering or leaving the property What are some of events you are planning to attend? Well, we are planning right now to go to the Venice Biennale. We are quite regulars at the Milan Design Week. We also love to go to events held in the Scandinavian regions like Sweden and Denmark. Connect Online@ www.smartvoll.com
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In Conversation with Filippo Cristina, Founder, TATO ITALIA
AS A YOUNGSTER, I WAS EXPOSED TO THE WORKS OF ALVAR AALTO “Filippo Cristina talks about his early inclination towards design, his friendship with the descendants of the most famous Milanese architects and the inception of his brand TATO ITALIA.”
As an Italian designer what would you say makes Italian design an attractive proposition globally? Italian design is rooted in “historical production”, it looks back on projects of great value, in a way that has become a school of thought for the rest of the world. I believe that in Italy there is an intrinsic value in every object, an almost visceral know-how that is impossible to ignore. In addition, craftsmanship and ‘Made in Italy’ production is globally recognized, so many brands choose to produce in our country.
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Filippo Cristina, Founder, TATO ITALIA
What do you make of the contemporary design taste and how does it impact the design of your products? It is always difficult to analyze taste in the moment in which one is experiencing it, we only achieve a more complete vision of any given period after at least a decade. For example, when we were in the ‘00s there seemed to be no defined taste, while if we look back on those years today, certain objects can easily be placed in that era and are considered to have defined its style. As Gae Aulenti said, I believe there is nothing worse than being fashionable. It’s better to have your own style and follow it consistently. With TATO I always do my best to be in this second category. As an individual were you always drawn to light and furniture design, what led to the inception of TATO ITALIA?
Design Connect|April - June 2021
In Conversation with Filippo Cristina, Founder, TATO ITALIA
I can say that I have breathed design since I was a child, I grew up among lovers of design, art and beauty. My family has guided and supported me... When I was a child, my parents didn’t take me to the beach but to Finland to see the work of Alvar Aalto! When I entered the job market, I was allowed to choose what I wanted to do, so I went on to carve my own niche. Thanks to my friendship with the descendants of the most famous Milanese architects and my good relations with a series of highly talented contemporary designers, I began to create the TATO catalog and kept on expanding it, year on year, in a very consistent way.
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In Conversation with Filippo Cristina, Founder, TATO ITALIA
Will you be a part of the upcoming edition of Salone Del Mobile in September 2021? As a design entrepreneur, what does an event like Salone mean to you? The project curated by Stefano Boeri for the September Supersalone has just been presented. We’re still in the evaluation phase, but it’s certainly a great sign for the city of Milan - a new beginning for the undisputed capital of world design. I’m sure that the April 2022 edition will be the true rebirth of the phoenix, the 2021 event in my opinion, is the much-needed revival which will lead us there.
Filippo Cristina, Founder, TATO ITALIA Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
The year 2020 has been an exception for many and exceptional for a few, what is your take, what have the key takeaways been?
The Monforte Armchair designed by Alessandro Pasinelli Studio
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Everyone learned a lot from last year. 2020 forced us to slow down, and rethink our strategy. In a saturated marketplace full of offers, we thought that service, and in particular, a higher attention towards the end customer, could be a plus for our brand. We chose to put this at the center of our business operations.
As mentioned, in my opinion there is an over-production of any kind of good today. What we try to do is to develop products with the highest possible design value in collaboration with designers and architects. All it takes is a small detail to catch the eye and make people fall in love. We also encourage design ideas which do not conform to a precise style. Design ideas based on just trends alone have a very rapid “decadence”. At the same time, we recover the projects of the great Masters of the ‘50s. We have Alzabile by Ignazio Gardella and Luna by Gio Ponti in our catalogue, two simple lamps but with an almost obsessive attention to even the smallest detail. This is why they have been contemporary for over half a century!
The new Sella pouf originally designed in 1961 by Corrado Corradi Dell’Acqua Design Connect|April - June 2021
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In Conversation with Filippo Cristina, Founder, TATO ITALIA
As a design connoisseur when you look at the evolution and developments in light and furniture design scene, is it all good or are there shortcomings which need to be addressed? How is your brand addressing them?
From the yesteryears till date, who are some of you favourite designers? Post-war Italian design is what I grew up with, I’ve always been surrounded by the most iconic pieces in my grandparents’ and parents’ homes, they are objects that have a domestic flavor and make me feel comfortable even when I find them in my friends’ apartments! Achille Castiglioni, Ignazio Gardella, Gio Ponti, Vico Magistretti, famous names that belong to my background and to the background of many other people. They are the Masters.
In Conversation with Filippo Cristina, Founder, TATO ITALIA
Going forward what kind of design collaborations and product launches have you planned for the year?
TATO continues its exploration of the most important design pieces by 20th century Italian designers and enriches its already vast catalogue with two reeditions of historical products by Ignazio Gardella: Paolina, a pendant lamp with an immediately familiar look, composed by an essential volume with soft lines that envelops the underlying diffuser, and Stand, a side table that is a clear example of the architect’s skill in creating avant-garde pieces by combining elements from other products. It is distinguished by a handle which is a design virtuosity as well as a highly useful element.
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The Icones Table Lamp by Lorenza Bozzoli
The ‘Stand’ Coffee Table by Ignazio Gardella
In Conversation with Filippo Cristina, Founder, TATO ITALIA
Finally, I would like to point out the new Sella pouf, originally designed in 1961 by Corrado Corradi Dell’Acqua, available in three versions with a backrest of different heights and covered in velvet, felt or other fabric.
In parallel, the brand continues its collaboration with the best names in the world of contemporary design. With Matteo Nunziati the brand is presenting Leina, an alternative version of the Lea table lamp. Both models are directly related by their essential shape created by two intersecting cylinders, but Leina is smaller in size and displays a yet unseen and modern combination between the base in marble and the satin-finish polycarbonate shade. Icones lamp by Lorenza Bozzoli, first presented as a table lamp, has now been declined into an actual family which also includes a floor and a suspension lamp. All models have a pure geometric line and are characterised by a well-balanced interplay of different finishes, with brass and aluminium structure and lampshade in white opaline plastic. Another new product is Monforte chair by Alessandro Pasinelli Studio, a homage to Milan and to the architects who, in the postwar period, redefined the city’s image with an unparalleled creative force. Declined in two versions with or without armrests, the chair has a metal tubular structure which resonates with the Bauhaus philosophy and is proposed in black or satin gold finish. In your words, what is the uniqueness of Brand TATO ITALIA?
The love of good design, attention to detail, and certainly the people who work for TATO. Never forget that companies are made of people, not things! Connect Online@ www.tatoitalia.com Leina table lamp designed by Matteo Nunziati
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WERK 12 designed by MVRDV with co-architects N-V-O
PHOTO FEATURE
COMICALLY INSPIRED Designed by MVRDV and N-V-O Nuyken von OefeleArchitekten, WERK12, a mixed-use building that serves as the focal point in Munich’s WerksviertelMitte district stands out with its bold and expressive art façade featuring five-metre-tall verbal expressions found in German comics. Project Designed By : MVRDV and N-V-O Nuyken von Oefele Architekten Photo Courtesy : Ossip van Duivenbode
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The design of WERK12 combines a simple form, honest materials, and transparent façades. Users can move around the building in multiple ways: the design’s external circulation core on the building’s northeastern side is supplemented by 3.25-metre-wide terraces that surround each floor of the building. These are connected by external staircases curling around the building to connect these generous open spaces (a playful reference to one of MVRDV’s most famous early projects, the Dutch Pavilion at the Expo2000 in Hanover). This public route up the building blurs the distinction between interior and exterior, placing the interior spaces in conversation with exterior balconies. These are additionally finished in the same material as the ground-level sidewalks to emphasise their status as part of the public area of the building.
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41 WERK 12 designed by MVRDV with co-architects N-V-O
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WERK 12 designed by MVRDV with co-architects N-V-O
“The area of the Werksviertel-Mitte district has already undergone such interesting changes, transforming from a potato factory to a legendary entertainment district,” says founding partner of MVRDV Jacob van Rijs. “With our design, we wanted to respect and celebrate that history, while also creating a foundation for the next chapter. WERK12 is stylish and cool on one hand, but on the other it doesn’t take itself so seriously – it’s not afraid to say ‘PUH’ to passers-by!” The five floors of the building are occupied by restaurants and bars on the ground floor, the offices of Audi Business Innovations on the top floor, and a three-storey gym in between that includes one storey dedicated to a swimming pool. WERK12’s floor-to-ceiling glass walls, combined with its location near to the train station, provide the upper levels with stunning views towards central Munich, punctuated in places by the lettering on the building’s terraces – many of which take on a new meaning when read in reverse.
A key to the design was in the flexibility of the spaces. The building’s extra-high ceilings – with 5.5 metres between each floor – allows for mezzanines or other level changes to be added by future users. The placement of the circulation on the outside of the building means that the interiors can be easily reconfigured, while also providing structural stability through the use of the diagonal staircases. The DeutschesArchitekturmuseum has awarded the 2021 DAM Preis to MVRDV’s WERK12. Due to Covid-19 restrictions, this year the awards ceremony for the DAM Preis was held online, and the exhibition will be presented to visitors as soon as the museum in Frankfurt am Main can be safely opened to the public. Connect Online@ www.mvrdv.nl and www. n-v-o.com
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WERK 12 designed by MVRDV with co-architects N-V-O
The façade is animated by an urban art piece developed in tandem with local artists Christian Engelmann and BeateEngl, comprising bold lettering spelling out common expressions taken from the German version of Donald Duck comics. This 5-metretall lettering, and the colloquial nature of the expressions chosen, are a tribute to the graffiti culture and extensive use of signage found on the old site. At night, the appearance of the building is transformed by its illumination strategy. Simple geometries and honest materials morph into a vibrant lightshow.
In Conversation with Dutch Designer Robert Van Embricqs
A SYMBIOSIS OF MOBILITY, FLEXIBILITY AND AESTHETICS My ideal product applications are the ones which transform in response to the variations of nature, says Dutch Designer Robert Van Embricqs.
The Rising Chair led to the rise of your career worldwide, what led you to create this design marvel? As a child, everything seemed possible and I used my imagination to shape my own world. However, the creative process is something most people lose once we mature and we leave it up to the designers to shape the world around us. Then there is a cultural influence too which tends to shape our inclination to design and also the ways and methods to design or perceive an end product. In designing the Rising chair, my own imagination and the wood working techniques of the Maroons in Suriname, a place where I was born, have played a major role.
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The reception of the Rising Chair led you to put this piece into production, how easy or difficult was that part of the task?
In Conversation with Dutch Designer Robert Van Embricqs
Having a good idea is one thing, to execute it and make it available in the market is another. For a lay man, the Rising Chair is simply an object put together by a couple of wooden beams connected to a certain number of hinges. However, when you dwell on the details, you realize there is more to it. Parts like the rounded corners for more comfort, the finish options and the cutouts for the hinges etc. This furniture piece attracts art lovers and people who prefer adorning their commercial and living spaces with unique objects. For now, the production of the Rising Chair is being kept exclusive while having an open mind set on how to reach a bigger audience. Looking at your creations would it be right to say that apart from others, mobility and flexibility are two important elements of your design? are you also inspired by parametric/computational design?
Initially when I started developing the Rising Chair, my goal was not to make a practical folding furniture. Mobility became an important element once I finished creating the design and noticed the benefits of its flat pack capabilities. On the other hand, flexibility has always been an important aspect for me, it gives me the opportunity to become aware of the limitations of the material I am working with. It allows me to understand to what degree a design innovation is possible using it. The material has a lot of say on the infinite design possibilities which exist and also the ones which can be practically realized.
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Parametric/computational design does intrigue me because every single element becomes part of a rhythm to create the final shape. This design reflects in the miniature paper models of the Rising Chair too. This synchronic behavior can be represented as a 3d model on a computer and studied further to look at some other design options which may be possible.
In Conversation with Dutch Designer Robert Van Embricqs
Who are some of your favorite architects and designers? I usually tend to be attracted to designers who showcase simplicity in their designs. Then there are different architects and designers who have powerful ways to show the world how to deal with human desires and behaviors. Revolutionary thinkers like Charles and Ray Eames serve as a novel example on how to make furniture molds for reproduction and how to position yourself in the competitive world of design. Simon Velez, a Colombian architect is another architect I adore, he creates amazing pavilions made out of bamboo. He did extensive research on this material to find out what is possible and succeeded in extending his own design borders.
Using fabric, wood and plaster as the key materials the essence of Vienna coffeehouse was brought to life
In contemporary design how much role does the cultural roots of a designer and the associated traditional design come into play? Many a times designs influenced by one’s culture gets represented in the ornaments or details of everyday objects. But what survives over a longer time period is the technique involved in designing it, these techniques are utilized to create contemporary products as well.
I was born in Suriname and moved to the Netherlands when I was 8. In Suriname it is mainly the Maroons, descendants of the runaway slaves, who have managed to set up their own ingenious wood industry. They are known for wood carvings that are sold to tourists in the big city. One of their creations is a folding seat. The stop and fold technique have been cleverly incorporated into this seat and still stand strong by this day.
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You chose to use a sustainable material like bamboo to design your product, having said that in contemporary interior accessories to what extent can one choose sustainable materials over other available options without cost escalation?
The world of sustainable materials is growing fast and suppliers offer materials that are more user friendly than ever before. They also adjust and create natural material compositions to make it easier for the designers to apply this onto their products. My first prototype was made out of Ashwood for its natural look and flexibility which makes it easy to work with. The first production of the Rising Chair was made out of bamboo and had its benefits and disadvantages. Due to the rigidness of bamboo, the chair could endure a lot in terms of scratches, however the solid bamboo made the chair heavy and less flexible compared to wood. As a design professional when you look at the product design scene, is it all good or are there shortcomings which need to be addressed?
Every design approach is different in its function or material use. At the end of the day its utility is determined by the end user. This acceptance of a product determines its success or failure. With regards to producing the product, the designer, alone cannot do it all. To ensure that the endproduct is made available to the target audience for purchase, a producer is necessary. As a designer it is also necessary to network and collaborate with the right manufacturer, one who is specialized in furniture production and shares your passion. Whether a product can fit into the mainstream furniture market and become successful or will be perceived by a smaller group of people is another story but to be able to make it available for the customers in the first place is another. I have seen many good ideas that have not succeeded at a global level simply due to the lack of a good network. Design Connect|April - June 2021
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In Conversation with Dutch Designer Robert Van Embricqs
I was much inspired by the use of natural material and the folding design when I created the Rising Chair and this in a way shows that traditional design can become the next step in future design.
What kind of products are you designing now? Can you tell us something about your design collaboration with architect Boye Mutsaerts?
In Conversation with Dutch Designer Robert Van Embricqs
I am adding newer products to the Rising Furniture collection. More so, because working from home now has become a trend. One of the products is a folding cabinet which is clever combination of functionality and aesthetics
Boye Mutsearts is a Dutch Interior Architect and I have known him for many years. His taste in furniture design and the way he comprehends contemporary interiors is superb. He has thought me the importance of listening to my target audience.
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Going forward what kind of work would you like to do in furniture design, would be looking at other sustainable materials too?
In Conversation with Dutch Designer Robert Van Embricqs
My ideal product applications are the ones which transform in response to the variations of nature. Factors like sunshine, wind, rain or snow come into play. Some examples of such a product can be a filter skylight ceiling system, a roof extension or a wind shield that can adjust itself depending on the direction of the wind. In designing such products, the principles of both architecture and product design need a through consideration, it’s an amalgamation of sorts. One of the key factors is also to ensure that my newer designs integrate well with the surroundings in question. Likewise, I am keen on utilizing sustainable materials in designing such products. So that the end-user can take pride in owning something that is not just innovative but also eco-friendly
What kind of design education would you advise young designers to take up? What mantra of success you would like to share with them? The design world changes rapidly. Having said that, these days, the internet too offers a lot of knowledge on ways and methods to make unique pieces of furniture. For young designers, it is essential to carve a design path that will allow them to create exclusive products. It is necessary to pay attention to the material itself. A collaboration between the designer and the material can sometimes result in creation of surprising masterpieces. Young designers should also ensure that they make a good first impression when they present their work. Whether it is an image or a video of the end product as also the design process itself, if well made it remains etched in the mind of the audience for life. As an individual, every young designer needs to discover what is best way to make his/her work shine and steal the show. Connect Online@www.robertvanembricqs.com
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