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Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk Corporate head office: Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 firstname.lastname@example.org www.objekt-international.com Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc. 1232 Yonge Street, Toronto, ON, M4V 1E4 email@example.com Head Office Berlin , Germany Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany Contributing writers: Izabel Fonk, Nicole Henriquez, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Isabel Vincent, Dirk Wilms, Rene Wilms, Mercedez Zampoli. Contributing photographers: Maxime Brouillet, Fabien Charuau, Jef Claes, Nick Decombel, Douglas Friedman, Hans Fonk, Alaia Fonk, Zhi Geng, Sabrina Huang, Guan Li, Nico Neefs, Nilufar, Silvia Rivoltella, Teri Romkey, Boris Shiu, Hiroki Tagma, Nadja Zheks. Fondazione Bisazza: Norman Parkinson, Terence Donovan, Milton H. Green, Terry O Neill, Jerry Schatzberg ©Iconic Images. Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Lieuwma-Puijk
photo: Alaïa Fonk
In these exceptional times, we would almost forget that design must remain a great fun factor. Anyone who sees the number of more than serious virtual design talks passing by and observes the online presentations of many interior manufacturers, cannot escape the impression that oldfashioned seriousness predominates. With OBJEKT©International Digital we offer counterbalance and tread paths that should lead to enlightenment. (or not) It is time for a new approach where inspiration can come from fashion, art and music. The interior as an accumulation of design items creates an impersonal result. And a ready-framed poster or a painting of an obscure quality that is too small will not been sufficient. Here the large brush is in place and give unexpected contrasts depth. Mood boards are fun, but only serve as a starting point for experiments. Now, more than ever, the charm of the imperfection applies: the beauty is in the imperfection.
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Noir (black) is the new sign of time at Dimoregallery, Milan. The gallery is a home, a journey, an experience, a dialogue between past and present. Every object selected or created by designers Emiliano Salci and Britt Moran, has a story and an allure capturing imagination in a way in which only art and design are able.
So for fall 2020 dark hues and noir atmospheres are the codes of the aesthetics that define the new set-up, where the collections of the great masters of the twentieth century blend with pieces from contemporary designers, selected for an affinity of poetics and styles.
The spaces are boldly reimagined including sober, non-contrasting but vibrant accents. A fusion of styles, a dialogue between past and present, contrasts and harmony are the values that summarise the philosophy of Dimoregallery. Material, theatrical and kaleidoscopical were the codes of the creations that Dimoregallery aims to promote and support.
Participating designers of the Noir event were Ocra Studio, Stefania Loschi, Isabella Garbagnati, Ilaria Bianchi, Pierre Marie, Hagit Pincovici and David Scognamiglio.
SAND IN MOTION Rive Roshan, Amsterdam, presented at the Rossana Orlandi Gallery during Milan Design Days a collection of 8 collectible sand objects, shaped as functional art. Movement caught in a moment of time, through an infinite technical and aesthetic possibility of 3D printing with the natural material sand. The collection consisted of various vessels, a chair, large mirror and side tables that are named after a particular movement that shaped their organic and kinetic identity, frozen in motion. The sand objects were made of 98 percent Bavarian sand, an extremely soft white quartz natural material. Regardless of its fragile and tactile appearance, the objects are amazingly strong. Through the process, the sand is 3D-printed within a box that gets filled with sand. Afterwards the pieces get excavated out of the box. The oxidization of the binder in reaction to the sand makes the pieces turn black. Rive Roshan: “The most beautiful thing about sand is that it is so changeable, it is easily taken up by the wind and will pour away between your fingers, yet it is also a very heavy and hard material.” “The movement of sand, and the patterns that the movement creates in sand are so fascinating. Through the Sand in Motion collection we have created pieces that are somehow frozen in motion. They look like organic kinetic sculptures, but they are solid and still.”
Pleat Vessel by Rive Roshan 3D Printed Sand 27cm (w) x 28cm (d) x 44cm (h) Limited edition of 20 + 2AP
nendo: from Tokyo to Milan
nendo, the design office of Oki Sato, Tokyo, designed the surprising new showroom of marble producer Marsotto in Milanâ&#x20AC;&#x2122;s Brera district. The project stretches over the basement and ground levels. While the ground level allows for the physical experience of state-of-the-art marble processing techniques, the basement by contrast is spatially structured for visitors to enjoy the allure of marble itself. While marble makes up the entire showroom facade, its joints are aligned with the existing building exterior in a careful balancing act of both harmonizing and conserving its presence in its surroundings. Additionally, part of the facade was made into an impromptu street furniture with a soft recess, for neighbors sit on as if on a bench. photos: Hiroki Tagma 14 OBJEKT
Devi Ratn Rajasthan
These pages: the lobby of the Devi Ratn in Jaipur, Rajasthan, India, with a sculpture of a bowing horse installed in commemoration of Maharaja Jai Singh, who was the Hindu Rajput Ruler. The interior was designed by Designers Group from Mumabi.
Boasting of a backdrop of the stunning Aravalli hills in Jaipur, Rajasthan, India, Devi Ratn tells the story of the heritage-rich Jaipur of an astronomical story with an extra-terrestrial design vision. Spanning over an area of 20 acres, the boutique hotel unveils the Pink City that it comes across in a whole new light. The master plan for the hotel property was created in 2012 by Bhagwat and Associates. The architecture and interiors were done by Urban Studio. In 2019, the renovation of this architectural marvel was assigned to Designers Group. Although the architecture of the hotel was remarkable, the interior grammar did not comply well with the overall envelope. That is where Designers Group from Mumbai, came in. Keeping in mind the prominence of Devi Ratn as an individual brand, the existing situation was kept as the core concept for the comprehensive design scheme. Hence, with a brief guideline from the authorities, the design team decided to work around the Ratnâ&#x20AC;&#x2122; theme while justifying the eminence of venerable Taj Hotel as a brand. The major challenge was the short timespan provided for this extensive project. The entire hotel exemplifies bold, big and captivating with subtle regional nuance. The public areas were interlinked with a connecting corridor, which is outlined to exemplify robust attributes with sparkling lighting design & landscaping stimulated by Mughal architecture. The lobby became the showpiece. The space was turned into an assortment of colorful hues through the composition of vibrant dĂŠcor items, furniture configurations, lighting elements and customized soft furnishings enthused with peacock & butterflies from the Bharatpur sanctuary. A sculpture of a bowing horse is installed here in commemoration of Maharaja Jai Singh, who was the Hindu Rajput Ruler.
Designers Group, a hospitality design firm in India, founded by Ar. Khozema Chitalwala with his wife & partner textile designer Sujata Chitalwala designed the new interiors of the Devi Ratn Hotel in India. Above: the dining hall, a corridor, details of custom designed interior pieces, a bedroom suite with a digital Indian art wall coverings encompassing the concept of Ratn, an Indian motif of jewelry and a signature piece in the lobby. Below: the Mandala bar area serves as a celestial marvel with its mirror ceiling.
A TRIBUTE TO THE SEA
DUPLEX AT ZHUHAI RENHENG COASTAL CENTER, ZHUHAI, CHINA
The Zhuhai Renheng Coastal Center is located directly at the Zhuhai coastline providing a great ocean view of Macau and the Hong Kong-Zhuhai-Macao Bridge. Here, T.K.Chuâ&#x20AC;&#x2122;s Design designed a model duplex for people to get inspired. The ocean dominates the main axis of the Center. The external architectural is shaped like a wave. The sea spray is the inspirator of the interiors shaped as the ultimate dream, unifying the exterior with the interior.
photos: Boris Shiu
In a poetic mood T.K.Chu explained the philosophy behind the interior design: “While Ernest Hemingway’s book The Old Man and the Sea shows the power of life when people facing death, we focused with this project in the Zhuhai Renheng Coastal Center on children and the sea because that implicates life, warmth, and hope.” With more than 40 years’ experience in the design industry, T. K. Chu has made his name around Asia. He combined contemporary design concepts and decorative elements, and introduced, according to himself, Neo Art-Deco to the Asian world. Not devoid of a sense of drama, Chun connected in this duplex almost all spaces in an open floor plan to enhance the view and the feeling of the sea. The rhythm of the reflections of the sun on the water, gentle yet rapid, along with the curved living space, intensified the ever-changing sea feeling. The carpet is a tangible performance of the waves caressing the beach, as one sits on the ground overlooking the sparkling water. Due to the architectural design of a large area with ceiling high windows and a large crossbeam, T. K. Chu Design outlined this space with an arc to reflect the distant island, framing the scenery with the condensed spray as an art device within this frame of view. The artist Zhang Guoliang's soap bubble, depicting a childhood of unconditional happiness dreamily extends to the sculpture downstairs while floating in midair. On the staircase, the art piece bestow the space a warm and childlike breath, so every visitor may experience a subtle feeling of pureness and sheer happiness, according to the designer. He further explained: “Those who enter this space can regain the power of hope and courage. In order to conform to the special interior inclined wall surface of the building and to create art in the space, we carved the 24 OBJEKT
staircase along a curve, completely covering it with stone. The corridor leads to the floor space, and the viewer is again welcomed by the artist Zhang Guoliang's work. The varying effects of the oxidized surfaces of the metal polished materials grant the space different characteristics. The art is not just pretentious posturing, but a delicate perception: a creation. The wall decoration seems to be condensed water and echoes the sea. And above all, it is like foam waiting for irradiating light, glowing majestically.” The design of the tearoom is inspired by the old adage water dripping through stone, inserting green plants into the space. Chu wanted to break away here from the traditional cultural tea area design pattern, and through the height of the background wall’s arch to create a sense of rhythm in the space. The main entertainment room is calm and comfortable, a water-blue carpet coupled with a stone tea table, floating in the sea reef islands, extends the space into a receding view of Zhuhai. The study is shaped as a city sea scape, with bold color blocks jumping out of a spacious tonality, setting up a suggestion of an arc, luxurious yet unaffected. The dressing room is reflected in the full open main bath space; in the mirror it looks like two full moons rising from the sea, their light projected on the sea, and the sea itself forming a glittering silver belt, illusorily blurred. The mosaic of the floor guides the vision to the wall; the black marble bathtub made of pure stone locks the whole space into a light white tone, focusing the vision, drawing the conclusion of the ‘sea’. The shadows that shake in the waves of water are like flames in crystal. The designers used furniture from T.K Home, Cornelio Cappellini, Gallotti &Radice, &Tradition, Bentley Home and Roche-Bobois. OBJEKT
In recent years Chinaâ&#x20AC;&#x2122;s countryside has undergone rapid changes. A large number of boutique hotels, B&Bs, tourist centers, Instagram-able cafĂŠâ&#x20AC;&#x2122;s, bookstores were erected amidst the beautiful scenery of China's suburbs. These tourism-driven projects have recently become the typical model of rural rejuvenation in China. Contrary to this model, House G is an atypical rural intervention. It was designed for a local family based on the fundamental needs of users and their living experiences. It should reflect the daily domestic lives and activities of the family, as opposed to being a spectacle inserted in the suburban landscape. It was created by Interval Architects, a Shanghai-based architecture design practice co-founded by Oscar Ko and Gu Yunduan. House G is located in a village two hours away from Shanghai. The client is an older couple with children living in downtown Shanghai. They occasionally come to visit. The village has a set of regulations governing the design of the houses in terms of areas, height, orientation, etc. As a response to local customs, cultural traditions and beliefs, the house was sculptured in an elegant and humble way blending in into the landscape. The first level of the house was designed to reflect the living habits of the house owners. Contrary to a residence in the city or a weekend house of urban dwellers, a vernacular house in the village does not only have to fulfill the needs to live there but also the need to interact with neighbors. The yard on the South end of the house is the most public area. It is the official entrance and a place of interaction. Part of the yard is reserved for growing of crops and locally grown vegetables. Another part has become the extension of domestic life from the interior outwards. Benches and outdoor washing sinks are placed at the periphery of the court. The extended balcony on the second level provides shading and protection from rain and defines an area for neighbors to gather. It is derived from the traditional vernacular architecture in Southern China. The foyer of the house is the daily entrance and a leisure space for the house owners to play Majong with the neighbors. The living room performs not only as a space of gathering for the family but also is a religious space to worship the ancestors. The second level of the house is the private domain and a place for mental retreat. The small courtyard on the mezzanine level is the most private area of the house and is only used by the family.
photos: Zhi Geng
the Shanghai G-house
Fondazione Bisazza photo Norman ParkinsonÂŠIconic Images.
Fondazione Bisazza, located in Montecchio Maggiore (Vicenza) inaugurated the photo exhibition “Norman Parkinson: Fashion Photography 1948 – 1968”. The retrospective retraced 20 years of fashion photography through the gaze of Norman Parkinson along with four other internationally recognized and celebrated photographers: Milton Greene, Terence Donovan, Terry O'Neill and Jerry Schatzberg. Curated by Cristina Carrillo de Albornoz and organized by Fondazione Bisazza together with Iconic Images-one of the world’s leading fine art photography archive management companies. The show was divided into seven themes: Glamour, Swinging Sixties, City Style, The Art of Travel, Postwar Couture, Exceptional Gowns and Iconic – for a total of 70 works. Epochal images that not only narrate the spirit of change sweeping the times (1948-1968) but, above all, reveal a new style of photography and way of representing women, especially in fashion shoots and portraits. Boldly outside the box, Norman Parkinson took a visionary approach to photographing models, removing them from the typical photo studio setting and taking them out into the streets, on beaches, to real, yet exotic and breathtaking, locations.
Fondazione Bisazza photo: Norman Parkinson ©Iconic Images.
Fondazione Bisazza photo: Norman Parkinson ÂŠIconic Images.
Parkinson managed to capture and fully do justice to the concept of feminine elegance in each strikingly poetic shot. Terence Donovan and Terry O’Neill, both English, captured as few the magic of the 60’s swinging London. Milton Greene and Jerry Schatzberg were both American and film directors and photographers. Greene was the fashion and celebrity photographer known best for his photo shoots with Marilyn Monroe. Jerry Schatzberg, a great filmmaker on his own, captured some of the most iconic and intimate portraits of his generation always characterized by their narrative quality and emotion. Photographed against New York’s high-rise skyline or with the monuments of London or Paris in the background, the female subjects take the starring role throughout the entire exhibit, which features, among celebrities from the world of music and entertainment: Audrey Hepburn, Marilyn Monroe, the Beatles and the Rolling Stones. Curator Cristina Carrillo de Albornoz said: “This exhibition focused on photography as a key shaping force within the media worlds, and its selection has been guided by choosing images that have become defining icons of genre and woven into the compelling narrative of glamour and style. At the heart of this seductive exhibition there are beauty, elegance and sophistication. The theme of beauty, more specifically the female beauty featured as idealized in the world of fashion and film. The theme of elegance, that is extreme refinement, as a way of being graceful in a stylish in appearance or manner”.
Fondazione Bisazza photo: Terence Donovan ©Iconic Images.
Fondazione Bisazza photo: Milton H. Green ©Iconic Images. Next pages Left: photo: Terry O Neill ©Iconic Images. Right: photo Jerry Schatzberg ©Iconic Images.
E O S I C OBJEKT INTERNATIONAL
HONORING THE PRINCIPLE OF MERGING BEAUTY AND FUNCTIONALITY, THE COEXIST MANIFESTATION IN SHANGHAI, CHINA, ARTICULATED THE CEASELESS EXPLORATION BY DESIGNERS, ARTISTS AND CRAFTSMEN: FROM DESIGN, MATERIAL SELECTION TO PRODUCTION. HERE, THE BEAUTY OF LIFE LIED IN COLLISION, FUSION, AND MUTUAL COMPLEMENT. HERE, THE INFINITE POSSIBILITIES OF LIFE WERE TESTED ONE AFTER ANOTHER.
COEXIST WAS STAGED IN A DARK GREEN VINTAGE WESTERN-STYLE HOUSE, GATHERING THE WORKS BY GLOBAL ARTISTS: COLLABORATIONS ACROSS TERRITORY AND PROFESSION. IT WAS A JOURNEY TO APPRECIATE OBJECTS WITH BOTH BEAUTY AND FUNCTIONALITY, AND THE ESSENCE OF LIFE.
COEXIST WAS THE MAIDEN EXHIBITION BY OBJECTIVE, ESTABLISHED IN 2020 IN SHANGHAI BY CHRIS SHAO. A MANHATTAN NATIVE, HE STARTED HIS STUDIO LLC IN NEW YORK CITY IN 2017. IN 2018 HE OPENED THE SHANGHAI STUDIO. OBJEKT INTERNATIONAL
Sela Home Swing by Atelier Decarvalho. Coexist curator: Chris Shao. Guest Curator: Simon Wang Team: Don Li, Ansha Jin Photos: Guan Li.
Rambling into an old Shanghai house, located deep along an alley, the Coexist exhibition was conceived as an exploration tour. Starting from architecture and space, the exhibition presented a journey to discover beauty across time and space. The century-old house formed a sound combination of Shanghai and western styles. The staircases and facades painted in gray-green brought the
Green sofa by Vladimir Kagan, chandelier by Ludovic Clement Dâ&#x20AC;&#x2122;Armont and a Trumpet chair by designer Bryce Cai, in front of a black lacquer screen with apple by Robert Kuo. The green objects are by Guan Xiao.
Simplicity in style with an artwork by Wan Yang.
exuberant green moss of Shanghai summer into the space. Set to a light green tonality, the exhibition was a vibrant aesthetic manifestation from outside in. On one floor seemingly simple living items like sofas, coffee tables, lamps, artworks embodied a plain and heartfelt narrative: Living with Art. The pace resembled the living room within the Coexist exhibition with an extension into the OBJEKT INTERNATIONAL
Illumination Machine by Brecht Wright Gander, table and dining chairs by artist Arno Declercq and on the table a chandelier by Robert Kuo. The artwork is by Shi Xiaobo. OBJEKT INTERNATIONAL
Wall lamp by Hannah Woodhouse. Four Seasons Table Acrylic Armchair, Jelly Poof, Bordo Coffee Table and a Jewel Tottemic Side table from the Collective Collection. The object is by Guan Xiao and the artworks against the walls are by Liang Manqi. OBJEKT INTERNATIONAL
rectangular indoor terrace with natural lighting. Another floor was transformed into a quiet place, with a mix of original vintage pieces by famous designers and genuine artifacts from across the globe combined with modern design pieces curated specially for Coexist. From architecture, interior, to furniture, fabric and from 3D to 2D, Coexist told a story about the ingenious integration of art, home furnishing, and space, inspiring thinking from more dimensions. It was a tribute to the coexistence of an old house and new art, as well as an art feast presented by Objective and Antenna Space. It demonstrated the way, how life and art coexist, and how noise and idea take shape parallel. It is the firm believe of Objective: No matter research and rigor, multiple tests and errors, it is humanity that reveals the presence of the object in the end.
THE BEAUTY OF LIFE LIES IN COLLISION AND HARMONY. IT IS MY OBJECTIVE TO PRESENT AN OBJECT IN AN OBJECTIVE WAY. CHRIS SHAO
Easy Chairs by Pierre Jeanneret and in the middle a Jewel Totemic Side Table from the Objective collection.
THE POWER OF A SIMPLE LINE 52 OBJEKT
E OBJEKT 53
Porsche 356 Porsche 550 Porsche 911 Porsche 917
A simple line, not substantially changed for decades and still up-topdate, the characterizes the design of the Porsche 911. Despite its technical improvements, the shape it is a worldwide phenomenon, recognized without hesitation. The German sport scar manufacturer has created through the years some remarkable icon like the Porsche 356, the 550 and the Le Manse winning 917 and of course the Porsche 911. It is testimony what powerful simple design in combination with high tech is capable of.
photos: Hans Fonk Previous page: RenĂŠ Magritte inspired impression of the iconic and timeless Porsche 911. These pages: The Porsche 550 was designed as a car for use in auto racing. The car was introduced at the 1953 Paris Auto Show and was produced by Porsche from 1953 to 1956. Only 90 Porsche 550s left the factory to make a name in the world of auto sport. The Porsche 550 was a mid-engine car with an aircooled four-cylinder engine. Its advantages led to it becoming the dominant design for top-level racing cars by the mid-1960s. The Porsche 550 has a solid racing history. It won the first race it entered, the NurbĂźrgring Eifel Race in May 1953. The 550 Spyder would usually finish top 3 in its class. Each Spyder was designed and customized to be raced. One of the first 90 Porsche 550s built, was James Dean's, numbered 130 (VIN 550-0055), which crashed in California on September 30, 1955, resulting in the death of the movie icon. The Porsche 555 on the photos is from the State of Art collection.
The Porsche 356 was the first production car by Porsche. It was the predecessor of the famous 911. The car was produced between 1948 and 1965. The Porsche 356 was designed by Ferry Porsche, the son of Ferdinand Porsche. Porsche used many parts of the Volkswagen for production, such as the air-cooled boxer engine.
Right-hand page: the Porsche 911, one of the most iconic sports car and the most famous sports car of the German car manufacturer Porsche.
The body was designed by Porsche employee Erwin Komenda. The mechanical parts, including the engine, the shock absorbers and the chassis, were built by Volkswagen. The first Porsche 356 was certified on 8 June 1948 in the Austrian town of GmĂźnd where it was made of aluminum. Production was moved to Stuttgart, Germany in 1950 and in 1965 the car was made out steel. The model has been modified a few times over the years. A total of
The car was designed by Ferdinand "Butzi" Porsche, grandson of Ferdinand Porsche, the founder of the Porsche brand. The known shape has hardly changed in the last fifty years. The 911 had it debut in 1964 and is still produced until today: the shaped stayed almost the same, the technical elments made a huge leap forward.
76,313 were built. It was followed by the Porsche 911. The 356 in the photo is from the State of Art collection
The iconic sports prototype Porsche 917- Nr 23 that won the 24h Le Mans in 1970 with Hans Herrmann and Richard Attwood at the wheel. It was Porsches first overall win at the famous endurance race in France. In 1971 the car featured in the Steve McQueen film Le Mans. In 2017 the car driven by McQueen in the film was sold at auction for $14m, a record price for a Porsche.
Looking out on La Fontaine Park in MontrĂŠal, Canada, the home, with its high level of contrast and impressive scenery, is inspired by the architecture of early-century mansions. The classic influence predominates in the overall design of the house, with regard to both space organization and the choice of atmosphere, materials, and furniture. It was designed by La Shed architecture.
MAISON DU PARC
Located at the heart of the home, the staircase winds its way through the three floors, bridging the gap between the various spaces. Atop is an immense skylight, which illuminates and highlights the staircase’s curves. The living room is at the front of the house and has a marble fireplace. The room is organized in the conventional manner of mansions, with centred, symmetrical perspectives created by the double windows looking out at the park and the narrow double doors leading to the kitchen. With an entire wall of windows facing the backyard, the kitchen and dining room take advantage of both the abundant natural light and direct contact with the outdoors. The kitchen is organized around a large white marble island with matte black cabinet. Integrated concealed doors offer the possibility of hiding or revealing a second countertop, which can be accessed on both sides. Designed with guests in mind, the basement bathroom was inspired by bathrooms in the finest restaurants. The cylindrical basin was installed on the floor in front of a partition mirror, in a space with a theatrical feel that opens onto the staircase and faces the illuminated wine cellar. The carefully restored facade facing the street rivals the elegance of the back facade, which is entirely made up of windows and opens onto the backyard. These facades reflect the interior of the home and provide continuity, both in terms of the materials and the graphic effects. La Shed architecture was established by Sébastien Parent, Yannick Laurin and Renée Mailhot in the Canadian city of Montreal.
photos: Maxime Brouillet OBJEKT
Design Art Night
On the occasion of the Contemporary Design Market in Tour & Taxis, Brussels, design-loving companies Fosbury & Sons, Flanders DC, Veerle Verbakel and Maarten Statius Muller once again unite to put special Belgian talent in the spotlight in this third edition of 'Design Art Night'. Curated for the curious, the inspiring night was especially created for design aficionados & collectors. At this edition the artists/designers Axelle Vertommen, Les Monseigneurs and Maarten De Ceulaer gave acte-de prĂŠsence. The Contemporary Design Market is an exclusive exposure and sales platform for both established and upcoming Belgium based designers working across design disciplines and with a variety of mediums.
Previous pages chair by Maarten De Ceulaer from the Mutation Series. (photo Nico Neefs) Left: a creation by Axelle Vertommen for Barelli Manon, handcrafted jewelry in Antwerp, Belgium. Below: the artists/ designers of the Brussels design night. From the left: Les Monseigneurs/ Thomas Renwart (photo: Nadja Zheks), Axelle Vertommen (photo: Jef Claes) and Maarten De Ceulaer (photo: Teri Romkey).
Axelle Vertommen approaches existing objects from a different angle, without losing sight of the practical. Functionality is always the basis of her designs, but also the aesthetic prevails. For example, she recently designed exclusive scratching posts that, in contrast to standard versions, are an added value in an interior. In her interiors she always looks for the
Above: creations by Les Monseigneurs, the artistic practice of Thomas Renwart (1995). He sees his practice as a kind of Horticultural Society, often inviting other artists, designers, thinkers to interact with the medium of textiles and graphic interventions within the canvas of woven objects. Craftsmanship, technology and digital transformations are the base of this often collaborative practice. The objects are woven by Belgian weaving mills.
unexpected combinations of colors and materials that combine harmoniously a whole. Les Monseigneurs is the artistic practice of Thomas Renwart (1995). He merges graphic and textile arts in an adventure where print and thread continuously pollinate, resulting in tapestries, printed matter and further adaptions on different carriers. Maarten De Ceulaer is known for the highly evocative, poetic and playful touch he gives his objects. He uses his work to tell stories, to stir people's emotions, to inspire their imagination and to make them wonder. He explores new materials and investigates in production techniques and crafts. The emotional aspect of objects is equally important as the functional, and he has remarkable attention for detail. He likes to use materials in unconventional ways, and his objects never cease to surprise.
Right: the book and wine store Luddites in Antwerp by Axelle Vertommen with Dries Otten. (photo: Jef Jacobs) Left: creations by Maarten de Ceulaer with the Doppia Firma Stained Glass Floor Light (photo Laila Pozzo) and a writing desk of suitcases courtesy of Victor Hunt Gallery. He designed the pile of suitcases for Nilufar (photo: Nilufar)
James Sidney Ensor (Ostend 1860 â&#x20AC;&#x201C;1949) is one of Belgiumâ&#x20AC;&#x2122;s most prominent artists. Known the world over as a pioneer of modern art, he steadfastly refused to be labeled as belonging to a single art discipline. He was also an acclaimed writer and draughtsman. Ensor was a master of colors. He created fantastical scenes populated by skeletons and carnival masks, countless seascapes, still lives, figure paintings and other colorful tableaux. The greatest upheaval was caused by his macabre creations, in which he exposed the grotesque and ridiculous nature of humankind. Ensorâ&#x20AC;&#x2122;s works can be experienced in the remodeled James Ensor House in the Belgium seaside town of Ostend. Here Ensor and his manservant August Van Yper lived and worked until his death in 1949.
Right: The Intrigue, painting by James Ensor, 1890. From 1887 onwards the artist used highly charged images such as masks, skeletons, death, carnival and transvestites to embarrass that society. Masks and caricatures gave him the chance to express his non-conformism and vent his frustration. Ensor found inspiration for his masks in his mothers souvenir shops, in the Ostend carnival parades and in the Bal du Rat Mort.
Previous pages: the main exhibition room ate the reopened and remodeled Ensor House in the Belgium coastal town of Ostend. Against the wall Ensor’s ‘Christ's Entry into Brussels’ from1889. It was a monumental work. The attic of his studio was not high enough so he had to nail the canvas to the wall, while the bottom part remained on the floor. Ensor could not afford expensive paint. He asked a house painter to prepare lacquer paint in large pots. He then painted the paint undiluted in large stripes, layer by layer, while each time the painting was rolled up a little. These pages: another exhibition room designed as a ‘Wunderkammer’ and the façade of the new Ensor House in Ostend. (photos: Nick Decombel).
The artist had inherited the splendid house from his uncle and aunt, Leopold Haegheman and Pauline Dewinter. The Ensor House is located in the heart of Ostend. The City by the Sea is the largest seaside resort along the Belgian coast. It has a tsunami of activities on offer: from annual cultural festivals like Theater aan Zee or Ostend at Anchor, to captivating screenings during the Ostend Film Festival, shows at Kursaal Oostende or street art during The Crystal Ship.
By the way: it was in this city of the city that Marvin Gaye wrote his famous song Sexual Healing.
Joseph Eichler developed his moderately priced houses for the mass-market starting in 1949. His homes were designed using affordable materials and simple construction techniques. Nearly 70 years later the homes are in need of updating and remodeling: an imposing and costly project. For this project in Foster City, the clients, who had undergone several previous house renovations, were determined to stick with an established budget. Klopf Architecture helped them modernize their iconic Eichler home. OBJEKT
Project Team: John Klopf, Sherry Tan, Angela Todorova. Contractor: Keycon Construction Structural Engineer: Sezen & Moon. Photos: Sabrina Huang
Joseph Leopold Eichler (1900 –1974) was a 20th-century post-war American real estate developer known for developing residential area’s in a Mid-century modern style in the Greater San Francisco Bay and Los Angeles Area.His aim was to make modern architecture available for middle-class Americans. With his ideas he was considered to be a social visionary. He built over 11,000 Eichler Homes in nine communities in Northern California and homes. During this period, Eichler became one of the nation's most inﬂuential builders of modern homes. For the design he hired respected architects like. Robert Anshen, a Frank Lloyd Wright fan, who created the ﬁrst prototypes in 1949. Eichler homes became synonymous with California Modernist architecture with their glass walls, post-and-beam construction, and open ﬂoor plan in a style initiated by Frank Lloyd Wright and Mies van der Rohe. The clients challenged the Klopf team to create a design that had a high-end feel and nicely done while adhering to their budget. That meant not all of the initial project scope could be built. Like many other Eichler homes, the original ﬂoor plan did not meet the family’s needs leaving them feeling disconnected from one room to another. While an early goal was to expand the house into a carport and create a larger garage, it did not survive the contractor pricing phase of the project. The goals that did survive through to the end of the project included blurring some of the boundaries and opening up spaces, making them more functional and creating a smoother ﬂow in the house.
The designers joined the former separate kitchen and formal living room into one large space and shift the dining room where it is now connected to the kitchen. They swapped the family room to the front alongside the living room, so the spaces feel more cohesive and are now better suited for family activities. The functional layout of the master bathroom was changed to include a large shower. Installing a complete Ikea kitchen including cabinets, countertops, appliances, light ﬁxtures, and furnishings was key to staying within budget. Bath ﬁxtures in this house are also Ikea. Klopf balanced material selections by retaining some of the original woodwork and simply reﬁnishing the mahogany paneling. They were able to retain the original windows and sliding doors, which were still in good shape, avoiding some of the most costly replacement expenses. Additionally interior doors were simply reﬁnished and the exterior siding cleaned up and repainted. Formerly dark interiors are now illuminated with new slimmer semi-recessed lighting eliminating the need for costly roof work. Attention to design details allowed the Klopf team to ensure the house ended up with a high quality feel. Key visual elements were strictly aligned and the designers worked with the clients to select a uniﬁed materials palette throughout the spaces so the house ﬂows seamlessly together. Aligning the tile layout with the trusses and keeping it level with the concrete slab outside allowed them to achieve a level of quality that may otherwise be missed.
Located in Thousand Oaks, CA, this custom-built family home has the heart of a modern farmhouse. Designed by architect Bob Hale of Rios Clementi Hale with interiors by NicoleHollis, the light-ďŹ lled home embraces indoor-outdoor living with soaring ceilings, ďŹ&#x201A;oorto-ceiling steel frame windows, expansive views and an interconnected series of patios and al fresco seating and entertaining areas. OBJEKT INTERNATIONAL
Interiors: NicoleHollis Architecture: Rios Clementi Hale Studios Original photos: Douglas Friedman.
For the interiors, NicoleHollis collaborated closely with the client, a stylish, creative family with three teenage children, to devise an integrated, layered and reﬁned design that supported their lifestyle and interest in entertaining. The dusty pale jade color of an egg from one of the family’s Araucana chickens established the muted materials palette and served as the color for all custom cabinetry. The nuanced interiors also highlight the client’s art collection with works by Richard Serra, Damien Hirst and Ed Ruscha as well as up-and-coming and West Coast artists. The ﬂowing layout features ﬁve bedrooms, ﬁve and a half bathrooms, a separate guest cottage, outdoor kitchen and ﬁre pit, a pool and a pool house with a gym. The scope included interior architecture, artisanal millwork and ﬁnishes, custom built-ins, lighting, furnishings, accessories and art consultation.
The home’s central great room combines a kitchen with Calcutta marble countertops and Christian Liaigre lighting with the dining and living areas. Anchored by artwork by Richard Serra, the dining area features a custom NicoleHollis dining table and custom benches by Michael Boyd. The living room includes hand-painted ombré linen curtains, ﬁnely tailored upholstery and glimmers of metallic accessories. A clubby lounge area serves as a space for entertaining, with a full-length bar, custom built-in banquettes, accent neon lights and plush dark green club chairs. The home also features hisand-hers ofﬁces, a serene master bedroom with a fourposter bed, master bathroom as well as his-and-hers walk-in closets. The children’s bedrooms channel their distinct personalities, with hanging seating and a variety of bespoke and built-in storage.
code #7 southlands
These pages: the interior of #7 Souhtlands, Mumbai Art Deco apartment, recently revamped by SquareWorks from Mumbai, India. The architects wanted to create dynamic and multifunctional spaces and still preserve the heritage elements. 94 OBJEKT
#7 Southlands was the code name for the renovation of a 1930 Art-Deco Apartment in Mumbai, India. According to the architects and designers of SquareWorks intended the project to celebrate the inherent quintessence of a sangfroid Bombay precedent with the distinct incorporation of consciously designed alterations. 96 OBJEKT
#7 Southlands, Mumbai, Maharashtra, India. Architects/ Designers: SquareWorks LLP Design (Katsushi Goto, Khushboo Vyas). Contractors: Nirmaan (Mainak Mushruwala, Husein Khakoo) Project management: Project Makers (Jitendra Jadav) Photos: Fabien Charuau.
While renovating the 1930s Art Deco Apartment SquareWorks strived for transparency, natural light and ventilation.The optimal use of existing spatial elements was emphasized to create a play between the living and otherwise. Here the more quiet part of the house: the bedrooms and study.
Like most older apartments, #7, Southlands, was a typical Art-Deco apartment with multiple rooms structured to facilitate the life of an Indian household. The brief asked for dynamic multifunctional spaces, which served different purposes. Yet the iconic attributes had to be involved. This called for a conscious restoration plan, which not only would anew the lost charm of a 300 square meter colonial apartment but also would address the multi-user specifics of a residential workspace. While revamping the 1930s Art Deco Apartment at No.7 Southlands in Mumbai, SquareWorks wanted to create dynamic and multifunctional spaces and still preserve the heritage elements. The interior was conceived as a residential workspace and a studio shared by multiple artists. Emphasis was placed on contrasting static versus dynamic elements. The interior was
intended to be rearrange-able and playful. The beds rooms and storage space had to portray permanence and stillness. The dining hall was converted into a exhibition space in case of an event. The living room now functions as a multidisciplinary workplace for multiple users. Terrazzo tiles in mottled shades of blue and green, abundant indoor plants and timber cabinetry and doorframes against fresh white walls accentuated a colonial aesthetic. The architects strived for transparency and natural light and ventilation. The optimal use of existing spatial elements was emphasized to create a play between the living and otherwise. Altogether, their methodological approach intended to realize a homogenous space, which allowed dynamic functionality in alignment with the variable domesticity of users involved. OBJEKT
These pages: the modern kitchen as the center of #7 Southlands equipped with Sub-Zero and Siemens appliances.
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One of Hans Fonk’s main achievements is OBJEKT©International, the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture. Thanks to the general concept, unexpected topics, the selection of designers, and quality of the photos, OBJEKT©International has gained the highest authority in its field. The magazine was first published end of 1991. OBJEKT©International is distributed in over 80 countries worldwide. OBJEKT©Asia is distributed in China. OBJEKT©USA-CANADA is distributed in USA and Canada.
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