OBJEKT©INTERNATIONAL D15

INTERNATIONAL

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#D 15

OBJEKT INTERNATIONAL LIVE THE DREAM

OBJEKT© iNTERNATIONAL Living in Style no. D15, spring 2023 Published by HF Publications. Willemstad. Curacao

Spring 2023 was again the time of Salone del Mobile.Milano, the big event of interior design that in her wake the city of Milan transforms into a designer frenzy.

The Salone is a source of inspiration for the whole world and it is no surprise that every self-respecting designer, architect or other artist travels to Milan, Italy.

OBJEKT International was on the spot to discover and to report.

Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk Head Office the Netherlands Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 www.objekt-international.com Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany

Head Office North America Alexander Sasha Josipovicz, Studio Pyramid Inc. Honorary editor in chief USA and Canada 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid.com

This year edition highlighted the innovations in the lighting territory at the Euroluce biennial as part of the Salone.

Remarkable was also the rapid development of SaloneSatalite into the dominant theater for young designers to show their abilities.

In the next issue more about those two events.

H A NS FON K

Contributing writers: Izabel Fonk, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Rene Wilms.

Contributing photographers: Gieves Anderson, Xavier Béjot, Biderbost, Cafeine.BE, He Chuan, Alaia Fonk, Hans Fonk, Hana Knizovm, Aaron Leitz, Matthew Millman, David Ruano, Deidi von Schaewen, Jacob Snavely, Tim Van De Velde, Jeroen Verrecht, Adrien Williams.

Graphics: Hans Fonk Studio Art directors: Hans Fonk, Alaïa Fonk Video productions: Alaïa Fonk Illustrations: Eveline Puijk

photo: Alaïa Fonk

Over the last years, the interior world seems to be flooded with safety designs based on beiges, browns and off whites on the one hand and the pure bling on the other. Yet cracks appear in that bastion: color and rough edges are the welcome alternatives.

So we went on an extensive search for representatives of this emerging trend.

And yes, they were found. All around the globe.

OBJEKT International ASIA/CHINA Cora Feng Xi Tang Art Center. No 2. Xi Ba He Road, Chaoyang district, 100028 Beijing, China

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D INTERIOR DESIGN ARCHITECTURE ARTS, ANTIQUES GARDENS, YACHTS

Honorary ambassadors OBJEKT International OBJEKT USA-CANADA George Beylerian Eric Booth Martyn Lawrence Bullard Tony Chi Massimo Iosa Ghini Jacopo Etro Marva Griffin Wilshire Ralf Ohletz von Plettenburg Glenn Pushelberg George Yabu Rene Wilms

INTERNATIONAL DIGITAL PUBLICATION BY HANS FONK PUBLICATIONS COVER : ECHOES , 50 YEARS OF I ’ MAESTRI - CASSINA

PHOTO : HANS FONK

FOREWORD

NEOCPSMOS - TAKE ME TO THE SUN

THE AXEL VERVOORDT FACTOR ANDRÉE PUTMAN

MARIE-ANNE DERVILLE

NOMAD HOUSE

CASSINA IMAESTRI COLLECTION ROUGH EDGES

DONGCHENG COURTYARD HOUSE

ABSOLUT INDIAN NATURE

THE BERRI HOUSE MONTREAL REBEL | DESIGN MUSEUM

SALONE DEL MOBILE.MILANO

LEXUS DESIGN PRICE

STRAAT MUSEUM

UPPER EAST SIDE COLOR

LUMIERE AMSTERDAM

BARCELONA OBERTURA IN VILLA - CHINA

02 10 12 16 24 32 40 46 70 78 86 94 100 118 120 126 134 140

FEADSHIP CATCH

150 152 154

OBJEKT INTERNATIONAL INFO PAGES

156

Q RESIDENCES

power flower # 2

by HANS FONK

PHOTO printed on art paper

Izabel Fonk on Impress Wynton x Osmium - Gelding, 2013

Fonk Sporthorses - Top Quality Horse Training and Breeding www.fonksporthorses.com

photo: Hans Fonk

La Coquillade, Luberon, France Unique Experciences Selected Retreats for Family & Friends WWW.UNIQUE-EXPERIENCES.CH

DUTCH BONSAI #15 - BY HANS FONK 133 X 94 CM

AT

ARTERIAL TORONTO

451 ADELAIDE ST W. (LANEWAY) TORONTO, ON, CANADA M4V 1T1

There is something truly magical about celebrating existence.

Hommés Studio, alongside Tapris Studio, under the umbrella of House of Hommés, created ‘Neocpsmos - Take Me To The Sun’, a cosmic exhibition for the Milan Design Week 2023.

It took the indoor and the outdoor concept to a futuristic level over a metaverse experience. The event was a tribute to the sun, celebrating the center of the solar system in new indoor and outdoor design concepts.

Through Artificial Intelligence tools, dreamlike and faraway settings were set up, where every element of the experience was designed to enhance the beauty of nature and extend the senses.

Hommés Studio was born from a skilled merge of visionary identities with distinctive design, art, fashion and pop culture perspectives, from Art Deco, Mid Century, Modern, Maximalist, and Memphis styles.

The design studio strives to creative evolution and mutation, branching out new brands and forms of expression. Under its umbrella, Tapis Studio & ACH Collection, add up to the interior design industry with modern rugs and home accessories.

Neocpsmos Take Me To The Sun

the axel vervoordt factor tefaf art fair

The Axel Vervoordt Company is an iconic global standard in the fields of art and interiors & design. From the start in the Belgium city of Antwerp, it has always been a family-led business.

Axel, May, and their sons Boris and Dick are active in the daily operations with our team of about 100 collaborators from their head office in Wijnegem, Belgium.

The key elements of the company’s vision since Axel Vervoordt laid the foundation in the 1970s are the respect for architecture and the purity of proportions, the passion for discovery and the endless search for beauty and quality, an on-going quest to uncover harmony between the past, present, and future, the spirit of openness to share experiences, knowledge, and inspiration and the timeless philosophy for living with the arts.

From the start of the Tefaf Art Fair in the Dutch city of Maastricht, Vervoordt has given acte-de-présence with highprofile presentations. The 2023 the event was no exception.

Right: the Axel Vervoordt presentation at the Tefaf Art Fair 2023 in the Dutch city of Maastricht.

On the back wall ‘White Dark XIII’ by Anish Kapoor, 2005 and on the right a work by Chiyu Uemae, Untitled, 1971- 82.

The oval table is by Franco Albini 1956.

It is a unique piece. photos: Hans Fonk courtesy of Fefaf ASrt Fair

These pages; part of the Axel Vervoordt presentation at the Tefaf Art Fair with in the middle a painting by Ryuji Tanaka, Kaze, 1991. The large Totem is by José Zanine Caldas, 1984 and made of Brazilian wood. The table is by Le Corbusier, from Chandigarh, 1954 and the stool in front is also by Le Corbusier, 1953.The Tripé armchair is by Lina Bo Boardi, 1951, the Takis ‘Signal’ is from 1964 and the wall cabinet is filled with objects and a painting by Ida Barbarigo.

photos: James Gerde

A

ndrée Putman

the one and only - celebrated at Foundation CAB in Saint Paul de Vence

Andrée Putmann. photo: Xavier Be ́jot OBJEKT

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Andrée Putman (1925 –2013) was the iconic designer and art lover from Paris whose legend lives on. Het approach had a huge impact on the interior design in the second half of the last century.

For the first time, Fondation CAB Saint-Paul de Vence, France, hosted an exhibition as part of the villa Noailles’ outdoor program dedicated to the rediscovery of the works conducted by Andrée Putman, who passed away ten years ago.

In 1971 Didier Grumbach hired her in 1971 to start a new company which was aimed at developing the textile industry: Créateurs & Industriels.

Her intuition led her to reveal many talented designers such as Jean-Charles de Castelbajac, Issey Miyake, Ossie Clark, Claude Montana and Thierry Mugler.

The career of Andrée Putman that made her world famous from Paris to New York and Hong Kong, only started when she was 53 years old.

The event curated by Eléa Le Gangneux paid tribute to this ‘great lady of design’ who brought to light an entire forgotten side of the history of the Modern Movement and its most prominent architects. She preserved, promoted, and showcased their creative productions.

By creating Ecart (backwards for Trace) International, Andrée brought back to life forgotten designers from the 1930’s like René Herbst, Jean-Michel Frank, Pierre Chareau, Robert Mallet-Stevens, Antoni Gaudí, Eileen Gray.

The exhibition, in a scenography designed by her daughter Olivia, celebrated Andrée Putman and to the creators of the Modern Movement, who, a century ago, paved the way for our contemporary design ways.

She had a passion for their works, found objects, restored, reedited, highlighted and developed a most consistent catalogue.

From releasing furniture to designing interiors, the evolution came quite naturally for her.

Throughout here live she was fascinated by the arts: first as a talented musician before becoming a ‘messenger’ by working for interior and art magazines.

The interior design of the Morgans Hotel in New York in 1984 marked a turning point in Andrée Putman’s career: she managed to make a highstandard hotel with a small budget and asserted her style with sober rooms and visual effects.

Personally knowing what it was to ‘be trapped into the beaten tracks’, she was moved by ‘people whose work is not understood and was impressed by these artists who do not look for anything else but remaining in the depth of their sincerity, their risk’.

She wished to help them and establish a connection between them and the rest of the world.

In 1958, Putman collaborated with the retail chain Prisunic as Art Director of the Home Department, Here motto was to ‘design beautiful things for nothing’.

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“It is when I started working in New York that the French suddenly asked for me.”

From the 1980s, she led a series of interior architecture projects including hotels such as Le Lac in Japan, Im Wasserturm in Germany and the Sheraton Charles de Gaulle airport in Paris.

She designed stores for Azzedine Alaia, Balenciaga, Bally and Lagerfeld, offices, particularly the one for French Minister of Culture Jack Lang in 1984 and museums like the CAPC, Bordeaux’s contemporary art museum.

Apartment of Andrée Putman in Paris, 1980.

All photos: Deidi von Schaewen

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Above: the office Ecart in Paris.

Beside that: Andrée Putman at Ecart in 1978, with chairs by Mallet Stevens and lamp by Fortuny. Right: bathroom at Morgan's Hotel, New York.

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"We have to

In her work, not only did Andrée Putman reconcile ‘rich’ and ‘poor’ materials and find a new way to use light and cleared spaces to rediscover their origin, she also tackled the ways of living.

The private residences she designed enabled her to break the rules: why dine in the dining room, cook in the kitchen and sleep in the bedroom when one can overcome obstacles and change one’s ways?

accept that many things can no longer be

changed, or very slightly.

“It is not about bathing in the living room and cooking in the bedroom but rather about opening spaces to various activities. Why should places be reduced to one function instead of favoring the sensations they offer to us?”

If we change

In 1997, Andrée Putman created her Studio, specializing in interior design, product design and scenography.

When she imagined objects, she refused the excess of striving to re-design pieces which were already perfectly designed by others in the past.

we have to add

She started working with Christofle, Veuve Clicquot and reinterpreted the iconic Louis Vuitton Steamer Bag followed by ‘Préparation Parfumée’ in 2001 to launche her own line furniture ‘Préparation meublée’ in 2003.

In 2004, she created a tea set for Gien.

Putmam designed the interiors forPershing Hall in Paris, the Morgans Hotel in Manhattan and the Blue Spa at the Hotel Bayerische Hof in Munich.

Guerlain asked Studio Putman to re-design its flagship store on the Champs Elysées in 2005.

Private commissions inclueded the Pagoda House in Tel Aviv, the SoHo penthouse for Serge and Tatiana Sorokko, and a cliff-house in Tangier for Bernard-Henri Lévy and Arielle Dombasle.

them,

humor,

detachment.

What interests me: a joke in a collection, a sign of

complicity."

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“My only concern was to bring

awareness to at

least ten people; I would have

accomplished

something that

would carry me

for all my life”.

Andrée Putman

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Catalogue Ecart, 1978.

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sous le ci de paris 24 OBJEKT

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The interior of the apartment was originally created by Andrée Putman at the end of the 1990s. It is located in the Marais, Paris, France within Claude-Nicolas Ledoux's Hôtel d'Hallwyll.

Originally conceived for a dandy owner, profoundly mind-free, as a sort of Parisian eternal bachelor apartment, Andrée Putman designed the architecture of this interior in a totally atypical and non-conformist way. Recently the decorator and design advisor Marie-Anne Derville has taken over the premises.

Hôtel d'Hallwyll is the only residential building by the architect Claude-Nicolas Ledoux (architect of the Royal Saltworks of Arc-et-Senans and the barriers of Paris) preserved in the French capital.

Buoyed by this exceptional historical setting, Marie-Anne Derville has worked here as an ‘ensemblière’, combining pieces of furniture from different periods and styles, illustrating her taste for eclecticism: Jacques-Emile Ruhlmann, Jean-Michel Frank, Bob Wilson, Touplas Philolaos, Süe et Mare, Paolo Palluco.

That resulted in a décor that seeks harmony in contrasts and plays on the subtlety of a dialogue between forms, materials and temporality. Art Deco blends here with the 80s, and is integrated into this radical Putmanian setting, itself nestled in pure 18th century classicism.

The decorator, inheriting her taste for eclecticism from her mentors, Jacques Grange, and Pierre Yovanovitch (for whom she worked for 7 years), reveals her own style and her love for the history of French, Italian, Swedish and American decorative arts through this interior.

Previous pages: Under the Parisian Sky. The apartment, originally created by Andrée Putman at the end of the 1990s within Claude-Nicolas Ledoux's Hôtel d'Hallwyll in the Marais, Paris, France.

Recently the decorator and design advisor Marie-Anne Derville has reimagined the premises.

These page.

Right: decorator and design advisor MarieAnne Derville inherited her taste for eclecticism from her mentors, Jacques Grange and Pierre Yovanovitch.

Thanks to its magnetic energy, this living interior steeped in history has become the rallying point for a circle of friends, all players in the Parisian cultural and artistic scene: gallery owners, decorators, designers, artists, publishers, writers.

A place that produces meetings, parties and artistic effervescence, in the image of what was once called a ‘Salon’.

Thought of as a phantasmagoria, even as an exercise in style, it invites to look at the details, both playful and conceptual.

Everything is disconcerting in this apartment: the circulation and the volumes, the association of rich and poor materials, the architects' tables on either side of the spectacular marble fireplace, the long metal walkway that serves the interminable library, the kitchen thought of as a boat cabin opening onto the immense terrace that looks like that of an ocean steamer, and the mythical Putman bathtub with its ball feet on the mezzanine.

Hôtel d'Hallwyll is located in the 3rd arrondissement of Paris.

It was considered by contemporaries as one of the most modern buildings in the Marais at the end of the 18th century.

Today, it is still admired as a pure example of 18th century neoclassical architecture and considered one of the most elegant in Paris.

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These pages: the mythical Putman bathtub on ball feet on the mezzanine.

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These pages: buoyed by this exceptional historical setting, Marie-Anne Derville has worked here as an ‘ensemblière’, combining pieces of furniture from different periods and styles, illustrating her taste for eclecticism: Jacques-Emile Ruhlmann, Jean-Michel Frank, Bob Wilson, Touplas Philolaos, Su ̈e et Mare, and Paolo Palluco.

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THE NOMAD APARTMENT NYC BY AAMIR KHANDWALA

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The apartment is located in the Nomad district Manhattan, NYC. It overlooks Madison Square Park. The aim for the design of the interior was to reflect the spirit of the owner’s travels to Paris, California, New York and Morocco.

Aamir Khandwala was asked to incorporate elements of these destinations in the space to harmoniously co-exist together.

To accomplish this, a complete gut renovation was inevitable. He described the style and ambiance of the apartment as an eclectic harmonious mix, that is neither maximalist, nor minimalist, full of personality without being overwhelming.

Aamir turned to elements that could be used throughout the whole apartment, including Tadelakt, for the walls of the living room.

It is a traditional Moroccan finish that lends medium texture to its surfaces and plays well with natural light.

These pages: the Nomad apartment Aamir Khandwala designed to reflect the spirit of the owner’s travels to Paris, California, New York and Morocco. Color is everywhere with elements he used throughout the whole apartment, like Tadelakt, for the walls of the living room. photos: Jacob Snavely

As an example of his playful interpretation of the required elements and to make the client's existing art collection fresh and more exciting, he turned for example vintage Ikat fabric from the client's collection into a custom canopy in the guest bedroom.

No matter where your eye travels in this cosmopolitan apartment, there is a new color to see. Notable color choices include bold and bright pinks, blues, reds, browns, and even a kitchen cabinet with 12 coats of paint to create an eye-catching black.

To connect the interior space with the outside and Madison Square park with its beautiful trees, all apartment rooms have windows to frame the views.

To realize his ideas he brought in local and international craftsmen and art galleries like Cristina Grajales gallery, Jouffre, LF Upholstery, Christina Z. Antonio, MHG Studios, Twenty First Gallery and R & CO, to name a few Aamir Khandwala about his approach to interior design: “I believe that the space in which we live has a soul. By discovering the interests and passions of my clients, I am able to bring their dreams to life and create spaces that transcend style and fashion.”

He received his degree in Interior Design from the Fashion Institute of Technology and practiced interior design for more than 15 years. He was trained under designer Robert Couturier, honing his skills.

He continued: “Bringing an international perspective to interior design is my strength.

I grew up in South Asia, constantly rearranging the rooms in my family home from a young age and searching for hidden treasures in the local antique markets.”

“As an adult, living in New York and having the opportunity to travel extensively have been a constant source of inspiration.

My time as senior designer with Robert Couturier has taken me across the globe, designing projects from city dwellings to country homes in the US, Europe, the Caribbean, and the Middle East.

There is so much beauty to be found in our world. My desire is to bring pieces of it together in harmony, remaking grand luxury on a human scale that both intrigues and comforts. To enjoy the serenity that a well designed interior can evoke.

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These pages: all spaces in the Nomad apartment have their own personality.

To realize his ideas, Aamir brought in local and international craftsmen and art galleries like Cristina Grajales gallery, Jouffre, LF Upholstery, Christina Z. Antonio, MHG Studios, Twenty First Gallery and R & CO, to name a few.

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‘My style is cclectic a harmonious mix, neither maximalist, nor minimalist, full of personality without being overwhelming.’

Aamir Khandwala

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T HE C UTTING E DGE , 50 M |C ECHOES

YE ARS OF I

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AESTRI

ASSINA

During Salone del Mobile.Milano 2023, Cassina celebrated ‘50 years of the Cassina iMaestri Collection’ at Palazzo Broggi, with the exhibition ‘Echoes’ curated by Patricia Urquiola with Federica Sala.

Photos: Hans Fonk

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“50 years after its

foundation. the Cassina iMaestri Collection

expands to include new figures who have

contributing to writing the history of design.

This important evolution highlights the

company’s ongoing exploration of and

respect for the past

to create and develop its future”

Luca Fusso, ceo Cassina

During Salone del Mobile.Milano 2023, Cassina celebrated ‘50 years of the Cassina iMaestri Collection’ at Palazzo Broggi, with the exhibition ‘Echoes’ curated by Patricia Urquiola with Federica Sala.

For the occasion the company welcomed new authors who have written the history of design and, consequently, earned their rightful place in this universe: Vico Magistretti, Gio Ponti and Carlo Scarpa.

It also anticipated the launch of a lighting collection in 2024 by Charles and Ray Eames.

Inside the historic Palazzo Broggi and in a contemporary industrial setting, the method that Cassina has established over the years to edit great classics through the promotion of authenticity and design culture as recounted.

It was all about celebrating the past with a new vision for the future and aimed to adopt a current-day perspective that tells the painstaking research that has been carried out over the last 50 years.

It led to the industrial development of the furniture designed by the great masters of the Modern Movement though a complex philological process, providing a contemporary reinterpretation of these timeless icons.

Cassina has performing a balancing act between the great creative achievements of the recent past and the future of modern design.

The Italian furniture maker Cassina has been worldwide successful walking on this cutting edge with the concept of The Cassina Perspective. It expresses the pioneering spirit through an eclectic collection in which the most innovative products and Modern icons come together and dialoguing according to a unique design code based on excellence.

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Rough edges stand for the beauty of authenticity, simple shapes formed by time and the re-use of materials in unexpected ways. These are solid counterparts of a global interior design trend fascinated by safety-first forms and shapes in off whites and soft browns or silver lined bling.

Rough Edges is the beauty of imperfection. Vintage furniture enjoys a stormy interest because of its own character created by the traces of time. Old buildings in decline are restored to give a fresh context for new and contemporary interiors.

Rough Edges: a refreshing take on the ordinary.

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Through Bone and Marrow

Brutus, located in a former industrial complex in the western harbor district of Rotterdam, the Netherlands, is a multidisciplinary initiative for the arts.

Opened in 2022, it is an artist-driven playground, a space where artists, both local and international, are given carte blanche to experiment.

It presented ‘Through Bone and Marrow: Live Experience’, curated by Maarten Spruyt: a unique collaboration between Brutus and ‘O. festival for Opera.

Music’ by Dyane Donck.

Left: the Brutus art complex in the Dutch city of Rotterdam, the Netherlands.

Right: Diversity No 17 by Nacho Carbonell. It is a prototype and was one of the central artworks at the ‘Through Bone and Marrow: Live Experience’, curated by Maarten Spruyt at Brutus.

Photos: Hans Fonk courtesy of Brutus.

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"Art can put its

finger on the sore

spot and offer a view of what is to come, of a new aesthetic.

The raw environment of Brutus has

exactly the right

atmosphere for this.

It is a place where

you can wander alone and where you can

feel undisturbed the sensitivity and

discomfort of the

exhibition: Through Bone and Marrow.”

Maarten Spruyt Above: selected artworks by Ossip combined with the music by Dyane Dock Company’s music.

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Top left: artwork by Jan Eric Visser, 2020 and beside that ‘Untitled’ by Nick van Woert in cooperation with Grimm Gallery.

Right: the Dogmatix Syndrone by Frank Bruggeman at Brutus.

Brutus is an initiative of AVL Mundo, the n ot-for-profit organization founded in 2008 by the Dutch artist Joep van Lieshout to offer artists a unique opportunity to develop and exhibit projects without traditional boundaries.

The complex includes, besides the Brutus exhibition spaces (De Kathedraal and De Barbaar), an artist in residency site and the AVL Mundo Sculpture Park. Measuring 6000 m2 it is one of the largest, independent contemporary art spaces in the Netherlands.

Brutus uses its architecture as a collaborative material to inform its multi-disciplinary program. Host to complicated installations, challenging performances, massive group shows and impressive solo exhibitions, the place offers artists time, space, freedom, and funds to experiment, perform and exhibit at a massive scale.

Brutus is supported by the city of Rotterdam.

The exhibition ‘Through Bone and Marrow: Live Experience’, curated by Maarten Spruyt, was a unique collaboration between Brutus and O. festival for Opera. Music. Theater. The synergy between the two institutions created new ways of experiencing visual arts and

music theatre. Maarten Spruyt and Dyane Donck Company were commissioned by Brutus and O. to design this special preformance .

The exhibition consisted of associative stories in which atmosphere plaid the leading role.

Spruyt has been doing commissions for Van Gogh Museum and Museum Boijmans Van Beuningen since the 1990s. He recently made Chapter 3Hree in Het Hem and Meesterlijk Zwart in Kunstmuseum Den Haag.

Music plaid an important role in this event and music has always been the starting point of the various projects of Dyane Donck Company.

Under the direction of artist Dyane Donck, she combines all kinds of musical influences such as pop, classical, opera and soundscapes and allows electronics and technology to play a major role in her works.

For this occasion, DDC was inspired by the environment of Brutus and the art objects selected by Maarten Spruyt. This resulted on the one hand in soundscapes that are part of the exhibition, and on the other hand in a ritual performance to be experienced during the O. Festival for Opera. Music. Theater.

brutal yet refined

Historically, the Belgium city of Aalst is an important industrial town on the river Dender. Especially the textile industry flourished, a sector of which the city became the epicenter in the 18th century.

A remnant of this golden age is found along the Pierre Corneliskaai. Once a weaving mill, it was later transformed into a plastic factory under the wings of Tupperware and today it is transformed into the new showroom for designer furniture of bathroom and kitchen specialist Sterck. The renovation was completed under the auspices of Objekt Architecten in association with Hans Sterck.

When renovating this historically valuable building, it was important to preserve its industrial character.

The building is distinguished by typical brick architecture and consists of three symmetrical bays.

The distinctive façade is rich in beautiful nuanced brick ornaments.

Although the warehouse was not included in the list of protected buildings, it is considered a valuable architectural heritage.

The exterior of the building was restored to its full glory using special cleaning process to add value to the overall site and the city.

The architectural language and interior choices used, reinforced the industrial and historical character of this valuable building without falling into stereotypes.

An internal tension is created by the building's ultimate function as a showroom for furniture.

The modern items on display will enhance the whole and vice versa. Experience was sought in the broad sense of the word.

Brutalist architecture versus refined design.

Above: sofa by Mario Marenco for Arflex. The armchair is designed by Finn Juhl for House of Finn Juhl, the chairs are by Leon Stynen for Bulo, the table is by Wegner for Carl Hansen and the bench is by Martin Visser for Spectrum.

Right: sofa, designed by Piero Lissoni and tables designed by Kensaku Oshiro for DePadova.

Photos: Cafeine.BE

reforming future Designing behavioral change

“A new world is reborn from an abandoned school, with new ambitions and new ideals, capable of creating a new way of thinking, teaching, and training designers.

The goal is not to teach how to design new objects,

but how to teach new kinds of behavior.

Designing how to behave is the only true way to save

the world from self-destruction, and it is certainly how we must address the issue of climate change and

succeed in resolving it; by reducing the level of our waste in the broadest sense of the term: fewer objects to consume, fewer objects to use, fewer objects to recycle,produce, and sell."

Valerio Castelli: founder of Domus Academy, art director of Flou, collaborator of Kartell and Olivetti, awarded the Compasso d’oro in 1977.

During the Milan Design festival in April 2023, Mosca Partners presented ‘Reforming Future’ in a rare example of Italian Brutalist architecture, the Istituto Marchiondi Spagliardi, open for the first time during the event.

The architect aimed to create a school of life, immersed in a garden where there are no physical barriers to prevent the free-flowing use of spaces, but rather wide glass corridors and environments that encourage social interaction and communal life.

Castelli (1947-2023) was one of the firsts to understand the essential role of storytelling in the design world.

In 2011, he and his wife Caterina Mosca established Mosca Partners and he started working on designing and creating international events in the design and cultural sector, among which the Fuorisalone and in 2017, the redevelopment of Palazzo Litta as a civic cultural hub.

Although damaged by years of neglect, the structure exudes a great life force and features the wonderful use of visible reinforced concrete for the imposing structures and pillars of the facade.

The building was closed in the 1970s and soon fell into a state of abandonment.

The re-opening project was a collaboration between Mosca Partners and Milan City Council.

The Istituto Marchiondi Spagliardi, built in the 1950s in Baggio was designed by the architect Vittoriano Viganò.

The building is characterized by his vision of an ideal space for teaching and learning.

Reforming Future is part of Design Variations 2023 and showcased the projects created during the master’s course led by Michele De Lucchi and Andrea Branzi at the Politecnico di Milano School of Design.

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Above: the beauty of the past and its decline as the basis of the new: the Istituto Marchiondi Spagliardii in Milan as the showground where Mosca Partners were demonstrating the storytelling of design during the Milan Design festival 2023.

villa Dewin gallery maniera

Villa Dewin, of Hotel Danckaert as it is known now, is a fine and rare example of a preserved art deco building in Brussels. Belgium.

This is the setting that the Belgian design gallery Maniera choose to launch their inaugural show of fifteen new pieces by artists and architects of the gallery. Their creations entered into a dialogue with the art deco building, making it an integrated whole.

The house was designed in 1922 by the Belgian architect Jean-Baptiste Dewin, for Jean Danckaert, an industrial engineer. The villa Dewin, known as Hotel Danckaert consists of 58 OBJEKT

three parts: the actual house with its three facades, the rose garden and a garage. The building and the rose garden are listed as heritage sites and the interior furnishings and decoration of the Villa Dewin were developed by the famous Ateliers d’Art De Coene from the city of Kortrijk.

De Coene develloped a way of producing veneer wood on an industrial scale.

The material became an overnight success in the country.

Villa Dewin was probably the first project where they used this new material for the interiors to obtain a ‘Second Biedermeier’

atmosphere on this scale for a private home in Belgium. The decor was characterized by the quality and finesse of the use of the materials.

In a comment about the show, Gallery Maniera wrote: “When you look at the works by Office Kersten Geers David Van Severen, Richard Venlet, Bijoy Jain / Studio Mumbai, Jonathan Muecke, Sophie Nys, Valérie Mannaerts, Christoph Hefti, Piovenefabi and Koenraad Dedobbeleer in the interior of the Villa Dewin, you get the feeling they make each other better. It’s like this house needed the pieces to come alive, and vice versa.”

Top left: Left: Lazy Pillow sofa designed and a Clip-om-Light by Lukas Gschwandtner at the Gallery Maniera event at Villa Dewin/Hotel Danckaert in Brussels, Belgium. Middle: Prototype 2, Aluminum Table by Office Kersten Geers David van Severen. The ‘For Fauna and Flora’ Lamp/Pet Basket is by Richard Venlet and the Round Wood Box is by Jonathan Muecke. The Post War Masters Plafonnier 6 Bras Pivotants is by Stéphane Barbier Bouvet. Above: the Vulcano Rosso Floor Lamp is by Piovenefabi.

Photos: Jeroen Verrecht.

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Left: Historic bench, Lovers sofa. Golden Fleece chair and an oversized chess table by Rooms Studio at the Gallery Maniera exhibition at Villa Dewin/Hotel Danckaert in Brussels, Belgium.

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made by fire

The premiere of the Czech ‘Made by Fire’ exhibition by Moravian Gallery in Brno, prepared in cooperation with the Prague international design festival Designblok, took place in the Triennale Milano during the 2023 Milano Design Week.

It featured over fifty original objects made of glass, porcelain and ceramics that addressed social issues.

The project was accompanied by architecture of designer Maxim Velcovsk and the edit! architects studio.

The goal of the ‘Made by Fire’ project was to not only exhibit beautiful objects or present an art-historical showcase, but also to highlight contemporary social challenges through glass, porcelain and ceramics: the maintenance of productive competitiveness, ensuring ecological sustainability of production both in small workshops as well as in larger serial production, the use of classical forms and the possibility of their modernization and the employment of new technologies.

Beside of that it focused on the position of handcrafts, their future and sustainability at a time of energy crisis, as well as the autonomy of Czech industry, its past and its transformations moving forward. Made by Fire also posed questions about authorship, quality and identity as manifested in the artworks themselves, and through experimentation with materials.

These pages: for the Check ‘Made by Fire’ exhibition in the Triennale Milano during the 2023 Milano Design Week, photographer Hana Knizovm made atmospheric pictures of the works of the participating Check artists.

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“Czech glass and porcelain

constitutes an indispensable

part of our cultural heritage.

These fragile products of world-class quality are a

personal testimony of the

glassworks and porcelain-works connected with particular, and oftentimes famous, places.

A strong bond exists between the Czech landscape and its

products, and I am certain that contemporary glass and

porcelain are becoming a symbol of identity and representation of the Czech nation.

The entire exhibition has been

originally conceived by designer Maxim Velčovský and curators Eva Slunečková and Danica

Kovářová, and does not shy away from geopolitically pressing questions like the war in

Ukraine, the availability of energy sources, or the

question of sustainability.

It also greatly facilitates the reception of Czech designers within the international context.”

Mr. Martin Baxa,

Czech Minister of Culture

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These pages; works by Antonin Tomasek. (photo: Hana Knizova)

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Lionel Jadot’s shake up Left: the former headquarters of La Royale Belge, a 1960s functionalist building designed by architects René Stapels and Pierre Dufau, to be transformed into one of Brussels most vibrant hospitality complexes by Lionel Jadot. Beside that: Jadot. (Photo: Tim Van De Velde). Below: his Zavetem Atliers located in a 19th century paper factor near Brussels, Belgium.

Lionel Jadot, a fascinating self-taught architect and interior designer based in Brussels, known as a trailblazer in the industry.

He has an unconventional approach to interior design. He has been selected to conceive the interiors of Mix, one of Belgium’s largest hospitality projects, due to open in Brussels in June 2023.

Over the years, Jadot has become a real disrupter in his field and has distinguished himself through notable initiatives and major interior design projects. They all follow the principles of synergy and collaboration between craftsmen, designers and other creators, as was done in the old medieval crafts guilds: skill-based communities of artisans.

Zaventem Ateliers, the creative hub in the outskirts of Brussels which he launched in 2018, is an example. (photo on the right) Located in a 19th century paper factory, Zaventem brings together 24 creatives under one roof, fostering a communal ethos and functioning as an analogue, open-source network focused on making collectible art and design pieces.

In addition to creating a stimulating and inspiring environment for art making, Zaventem Ateliers also reshapes the market by exposing the creations from each independent workshop to one another’s clients.

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more or less G-Star raw | maarten baas

Denim brand G-Star RAW and artist and designer Maarten Baas have teamed up to create a series of thought-provoking design and art pieces made from denim waste. Unveiled during Milan Design Week 2023, the ‘More or Less’ exhibition explored one of the fundamental predicaments of our time: the tension and duality between the desire for more and the need for less.

The exhibition showcased a fifteen- meter long private jet covered with recycled G-Star jeans. It also showed a triptych of cabinets in the shape of jeans.

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Located in Dongcheng district, in the ancient city of Beijing, China, the project consisted of the construction of a private courtyard house including the refurbishment of an existing Ming's dynasty building.

The new Dongcheng Courtyard House was designed by JSPA Design, with Frenchmen Johan Sarvan and Florent Buis as principal designers.

Their objective was to give a clear image of the old and the new while connecting both in a coherent architecture.

The brick walls surrounding the plot and the old building's structure were kept untouched.

Two parallel buildings were added to create a succession of three courtyards.

The style of the new additions was inspired by the surrounding architecture and reinterpreted in a contemporary way.

The double pitch roof of traditional tiles was preserved but the lower slopes, long eaves and the traditional wooden structure were replaced by a combination of a thin steel structure and wooden rafters.

The series of courtyards provided privacy that increased while progressing though the building.

The guest room and living spaces of the house were organized around the first courtyard while the second and third patios with bedrooms and study room guaranteed absolute privacy.

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The three buildings were connected by a black steel canopy, made as thin as possible with its structure hidden for the observer.

It created the entrance and the covered passages between the buildings.

Its horizontal line also dictated the limit for the frameless glass windows for both existing and new architecture and served as sun protection for the south facades.

Three concrete elements were then added to the project. Two opaque boxes with the bathrooms are inserted like plug-ins in the architecture and a concrete frame created a supplementary bedroom behind the living room.

Most of the plot was previously un-built territory, so it was possible to dig an underground space where the swimmingpool and gym were constructed.

The space is now naturally lit by a patio on the north side of the plot and by a linear ceiling window on the side that let the structural beams appear and play as light reflectors for the underground space.

The ground floor and the basement provided a strong contrast. The ground level merged structural discreetly in the ancient city with references to the Chinese traditional roof.

The underground spaces expressed a brutalist architecture, where concrete as the single material used, creates an interesting scenery of light and shadows.

JSPA Design is a Beijing based French design studio established in 2009 by Johan Sarvan and Florent Buis working on architecture, interior, landscape and product design.

Left: a model of the Dongcheng House with its three newly created consecutive spaces.

Right: the typical Huton entrance of the house enhanced by a thin black steel construction.

Photos: JSPA Design

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These pages: the living area en master bedroom constructed as separate entities behind each other. The three buildings were connected by a black steel canopy and concrete elements were then added to the project matching the historical architectural style of the original building.

The emphasis is on privacy and tranquility.

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While most of the plot was previously unbuilt territory, it was possible to dig an underground space where the swimming pool and gym were constructed.

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ab

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bsolut indian nature

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These pages: Earthitects from Karnataka, India created in the wilderness of Wayanard, the private residence Estate Plavu, using materials harvest from the building site itself and working with craftsmen to create all furniture and interior elements on the site.

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Private Residence, Estate Plavu, India, is inspired by the grammar of mountain lodges and the native design aesthetic. The villa intertwines harmoniously with the mountain on three levels and blends seamlessly into the natural landscape.

Earthitects from Karnataka, India, used natural materials, with wooden flooring, random-rubble walls, cobblestone pathways, and log rafters.

Showcasing a joyous interplay of stone and wood, the villa is hidden amongst dense foliage and designed with unique elements, keeping sustainability and innovation in mind.

The project is situated in Wayanard, rated by National Geographic as one of the ‘50 must-see destinations in the world. It is in the wilderness, yet not totally disconnected from the wider world.

It has a UNESCO world heritage site called the Eddakal Caves, wildlife sanctuaries, trekking peaks, and other beautiful sightings.

The beauty of the surroundings is reflected in the design of the residence, The architects re-imagined the experience of everyday living by allying with Mother Earth and created a dwelling that is in harmony with itself and the natural environment. They designed the villa around nature, rather than on it.

When the building came in the way of a tree or boulder, the design was modified to go around it and accommodated it to be a part of our natural design. Thus the existing flora and natural featured on the site plaid their part in enhancing a carefully designed living experience.

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Left: kitchen and living room of the Estate Plavu house where all natural elements were carefully sourced on the building grounds itself.

To ensure no resource went to waste, some boulders were cut to form random-rubble walls, while leftover teakwood was re-used for fixtures, fittings and other accessories.

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Key factor for realizing the design philosophy were skilled craftsmen. They created and built the furniture and fixtures in-house. Each item in the villa was made on the property including the switchboards, joinery, kitchen counters, shower tray and cabinetry.

This ensured that all items were unique to Earthitects, the wood is intentionally left unfinished to really accentuate the live edge, and can thus be expected to age gracefully over time.

While most of the natural materials were sourced from the site itself, other materials were sourced locally to promote the nativity of Wayanad.

And, to ensure no resource went to waste, some boulders were cut to form random-rubble walls, while leftover teakwood was re-used for fixtures and fittings.

Earthitects is headed by Architect George E. Ramapuram who is a pioneer in ‘reverse urbanization’ or going back to nature.

He believes that architecture steered by nature re-establishes the revealing experience of connecting with both oneself and the environment.

Since 1996, Earthitects has architected and crafted authentic creations in the residential, hospitality, commercial, and landscape sector with one common design language - Nature.

Rooted in the values of the land, they craft spaces that emanate from this very earth.

Earthitects’ design journey began with the design of Evolve Back Resorts. Inspired by this success, Earthitects ventured into designing and crafting exquisite Private Residences for Ownership in tranquil destinations.

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These pages: envisioned as an outdoor sanctum of composure, the infinity pool and the pool deck synthesize nature with architecture, facilitating the abounding fullness of the mind, body, and soul. It represents the experience of everyday living by allying with Mother Earth.

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KEEPING THE TREES IN THE MIDDLE

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The project is situated on a short and narrow street in Montreal’s sought-after Plateau MontRoyal neighborhood. The irregularly shaped lot resulted from a subdivision of a large property spanning two streets.

This is the Berri House, a small residential extension. Thomas Balaban Architecte was challenged to squeeze as much home as possible out of a 130 m2 centenary carriage house, while taking maximum advantage of its unique urban situation.

The architectural team consisting of Thomas Balaban, project lead, Maxime Lefebvre and Julia Manaças worked rigorously to achieve the best possible.

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Built in 1910, the carriage house had undergone several renovations. The exterior appearance of the existing structure was largely preserved, its brick facade was repaired, and windows were replaced. Inside, the project was stripped down to the original shell of the coach house.

The new interiors were designed to celebrate the natural qualities of the utilitarian structure and the beauty of everyday construction.

Raw materials, rich textures, and minimal detailing formed the canvas for the softer modern furnishings and the family’s expansive art collection.

Plywood played the role of wallpaper

and steel structure imitated wood joinery, giving the project an in temporal quality where mid-century modern met construction site in a stripped-down Victorian shell.

Clad in flat galvanized panels, the floating volume now reflects natural light into the garden below. The reflective material endowed the extension with a feeling of lightness.

It also reduced the visual impact on adjacent houses situated in tight quarters, showcasing an abstract palette of sky and foliage.

Strategically placed openings endowed the living spaces with privacy, while

full height windows had to bring light into the house via open circulation spaces.

At the entrance, a opening through the first floor made way for an ultra minimal and transparent stair connecting the three levels.

The transparency of the wireframe stair in combination with the sliding divisions gave the small footprint of the ground floor much needed space to breathe.

Upstairs, the kitchen, dining room, office, and stair were organized around a central structural column built out to enclose a powder-room, stationary closet, stereo equipment,

and a coffee station. Strategically placed windows and existing skylights were needed to bring in natural light.

They were also a connection to the exterior, ultimately providing a changing, natural counterpoint to the abstract artwork and photography on display in the house.

These pages: the Berri Housein Montreal, Canada was internally opened up by Thomas Balaban Architecte to create modern and open living spaces divived over three levels in a relatively small house. The designers kept the beauty of natural qualities of the utilitarian structure.

Photos: Adrien Williams

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These pages: after the drastic renovation of the Berri House, the living room, dining area and kitchen were elevated to the top level.

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REBEL 30 Years of London Fashion

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Above: creations by Ahluwalia showcased at Rebel 30 years of London Fashion sponsored by Alexander McQueen at the Design Museum in London England.

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Rebel: 30 years of London Fashion sponsored by Alexander McQueen at the Design Museum in London England, is the anniversary of the British Fashion Council’s Newgen program. Opening to coincide with London Fashion Week 2023 in September, it will be the first major exhibition to focus solely on the creativity of young designers in Britain.

Newgen is a British Fashion Council showcasing initiative that supports the best emerging fashion design talent and aims to build creative, responsible businesses for the future.

Since being established in 1993, it has helped nurture the careers of hundreds of designers and businesses, launching many of them onto the international stage.

Alumni include Alexander McQueen, Christopher Kane, Charles Jeffrey, Christopher Raeburn, Erdem, Henry Holland, Kim Jones, J.W. Anderson, Mary Katrantzou, Molly Goddard, Roksanda, Simone Rocha, Stuart Vevers, Priya Ahluwalia, Saul Nash, Grace Wales Boner, Bianca Saunders and many more.

While BFC Newgen draws talent from across the UK (applicants must have their companies based in Britain), London has been a major inspiration and catalyst for the program’s young designers.

REBEL will put London’s vital and continued role in the careers of emerging design talent center

The event is of the most comprehensive contemporary fashion exhibitions ever staged in the UK, acknowledging the work of over 300 designers and featuring over 100 objects: from innovative and trailblazing garments to films, drawings and memorabilia.

It aims to deconstruct the creative process and inspire the next generation of fashion designers by showing how they can develop a career in the fashion industry.

It will be guest-curated by BFC Ambassador for Emerging Talent Sarah Mower MBE, and co-curated by the Design Museum Senior Curator Rebecca Lewin.

Sarah Burton, Creative Director, Alexander McQueen will chair the curatorial committee.

These pages: image of JW Anderson at Rebel, the Design at the Museum London.

These pages: images of Ahluwalia creations at Rebel, the most comprehensive contemporary fashion exhibitions ever staged in the UK.

Creative Delight

Salone del Mobile.Milano

Above: Clan Milano at Salone del Mobile.Milano All photos: Hans Fonk.

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It is the most important interior design manifestation in the world: the Salone del Mobile.Milano. It is and has been

the engine of Italy as a design nation and all major Italian interior brands are indebted to this institution that they

themselves in the recent past have created. The Salone is at the heart of the Milan design frenzy for the duration of the the fair. Central theme: sustainablity.

Maria Porro, President of the Salone del Mobile.Milano, had this to say: “The 61st edition of the Salone del

Mobile.Milano was an international success and we are really delighted that it exceeded expectations. The num-

ber of attendees makes for an exceptional result, which

we worked very hard, deeply and radically for, to bring new meanings and values to the trade fair visit and

create new experiences for the visitors who came along.

We have learned several important lessons from this edition: we have learned that it is indeed possible to

redesign a huge event like the Salone in order to propel

it into the future, that sustainability really is achievable

when the entire system pulls together, and that new

content can be devised and employed in order to generate

knowledge, growth and value.”

Hans Fonk photographed for OBJEKT International some of the creative wonders at the Salone. In the next issue

we continue this coverage with Salone’s Euroluce light

event and the increasingly important SaloneSatellite, for

young designers.

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Top left: Fiam and beside that Kartell.

Bottom left: Imperfettolab and beside that Minotti. Right: Maxalto.

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Above: Amy Lincoln for Etro.

Right: Eileen Gray exclusive

by ClassiCon.

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Above: B&B Italia with furniture designed

by Piero Lissoni. Right: Illumina by Gaetano Pesce for Romeo Sozzi’s Bottega Ghianda.

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Top left: Poliform. Beside that: the totally new Zanaboni collection.

Bottom left: Lema and beside that Turri. Right: Edra.

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Above: Roberto Cavalli Home.

Right: A Lot of Brazil.

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Top: Porro. Bottom: The Blue Chapter

by Desalto. Right: Living Divani.

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Top: Visionnaire. Bottom left: LauraMeroni and beside that Gallotti&Radice. Right: Villari.

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Above: Milla & MIlli. Right: Philipp Plein.

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design for a better tomorrow ‘Design for a Better Tomorrow’, the theme of the Lexus Design Award 2023 for young and upcoming creators, continued with the tradition of addressing issues and trends of the times. e three-judge panel of Paola Antonelli, Karim Rashid and Simon Humphries selected the winners from among 2,068 entries representing 63 countries and regions. Judging criteria were based on Lexus' fundamental principles for creating a prosperous society and a better future: Anticipate, Innovate, Captivate, and Enhance Happiness. e four winning proposals aim at resolving particular social issues to help prepare for the decades ahead. e projects were Fog-X by Pavels Hedström (Sweden, Based in Denmark), with ann expandable mobile habitat that catches fog and turns it into drinking water, the Print Clay Humidifier by Jiaming Liu (China), a 3Dprinted non-electric humidifier made with recycled ceramic waste, Touch the Valley by Temporary Office (Singapore & Canada, Based in USA), a 3D contour puzzle that helps visually impaired people learn about the physical environment and Zero Bag by Kyeongho Park & Yejin Heo (Republic of Korea), clothing package that dissolves in water and acts as a detergent that can remove any chemicals from the clothes.

On the photo the Fog-X by Pavels Hedström.

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STRAAT in Amsterdam, the Netherlands, is the museum for street art and graffiti. In one of the enormous construction halls of the former NDSM shipyard, more than 160 gigantic artworks are shown. Part of them were created on-site by international artists.

In the past decades, street art has become one of the biggest art movements. The artform that originally stepped up to bring forward social themes - and currently still is a reflection of what’s happening in the world - has grown to become internationally recognized art.

Recently, the renowned street artist Lady Aiko, was working here on a new artwork, as part of the exhibition Women in Street Art: the first project organized by the Museum under the sponsorship of ABN AMRO Bank.

The project turned the spotlight on female artists. During the course of the exhibition, artworks by Nina Valkhoff and Dutch graffiti icon Mick La Rock were also be added to the collection.

With this initiative the museum hopes to encourage aspiring artists to develop their talent and contribute to equal opportunities for all.

STRAAT showcases work by several influential female street artists, including George Rose, Adele Renault, Milu Correch, Gleo, Hera of Herakut, and Judith de Leeuw.

Lady Aiko (1975, Tokio/NYC) is a legend in the world of street art. Her work is inspired by Japanese woodblock printing, and is seen as innovative and feminine. Lady Aiko is highly influenced by her Japanese identity and her experience as a Japanese woman. Through her street art, she creates visibility for women and girls, and tackles gender inequality

and other issues. Aiko likes to make art that is loving and strong.

The visual language in her work is often linked to romance, sexuality and promiscuity.

Lady Aiko has collaborated with Takashi Murakami and Banksy, and her work has previously been exhibited at MACRO Future Rome (IT), Shanghai MOCA (CH), Brooklyn Museum NY and PS1/MOMA (VS), as well as in other major museums and galleries worldwide.

Previous pages: one of the enormous construction halls of the former NDSM shipyard in Amsterdam where STRAAT, the museum for street art and graffiti is based. In the foreground artworks by Joran Roukes (the Netherlands).

These pages; Above:.on the right an artwork by Lady Aiko created on the spot as part of the exhibition Women in Street Art. Beside that: ‘The Portal’ by Raffael Silks, Brazil. On the left: ‘Close to You’ by Studio Giftig, the Netherlands.

In the background ‘Bleuy’ by Dvate, Australia.

Right: ‘Jeu de Société’ by Monky Bird, Louis and Eduard. Beside that a construction trailer converted into an artwork by Beyond, the Netherlands.

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One of the halls with art works by Helen Proctor (Australia), Zurik (Columbia), Dan Kitchener (UK), Dourone (Spain, France), Phibs, (Australia), Nils Westergard (USA, Steve Locatelli (Belgium), Fake (the Netherlands), Bijdevleet (the Netherlands), Sokar Uno (Germany),Gary Stranger (UK), Inkie (UK) Studio Zepa (South Africa) and Guido de Boer (the Netherlands). In the middle a hanging mini-van painted by Carl Kenz (Germany).

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RAYMAN BOOZER AND APARTMENT 48

UPPER EAST SIDE: VIBRANT COLORS AND EXOTIC MATERIALS

These pages: the living room in a Upper East Side townhouse designed by Raymond Boozer | Apartment 48.

Beside that: the Townhouse Banquette.

Photos: Gieves Anderson.

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Apartment 48 has recently completed an interior design project that showcases Rayman Boozer's creative vision.

The Upper East Side Townhouse, located in the bustling heart of New York City, is a thorough renovation that features an impressive range of colors and bold design statements.

The 4000 sq ft living space has been completely transformed to provide a luxurious and comfortable living environment for a family of four.

This marks the client's third project with Apartment 48, following collaborations on the Chelsea Loft and Upstate Country projects.

The design studio’s aim was to set new standards in the interior design industry, and the Upper East Side Townhouse gave them a opportunity.

It is a testament to the design team's passion and commitment for creating unique, stylish, and functional living spaces that reflect the personality and lifestyle of their clients.

Principal designer, Rayman Boozer, has made a name for himself over the past two decades. Working with his apartment 48, he redesigned modern lofts, television studios, summerhouses and commercial projects.

He is a graduate of Indiana University.

After moving to New York City, ‘Time Out’ magazine had dubbed him the “go to designer for color consulting.”

Left-hand page: the kitchen, the dining room, the girls room and the dressing room. Bottom: the powder room and the guest room.

Above: designer Raymond Boozer.

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Over the years Apartment 48 has embraced that distinction, combining vibrant colors, exotic materials and modern furnishings to create spaces that feel optimistic, relaxed and effortless, utilizing their craft to tell their story.

Or, as Rayman Boozer describes it: “Every interior has a story. Apartment 48 takes an organic approach to building that narrative.”

Bottom left: the master bedroom and beside that the master bathroom.

Below: detail from the master bedroom.

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The immersive exhibition 'Dalí: The Endless Enigma' is a visual and musical spectacle of the most famous psychedelic works of artist Salvador Dalí. The venue: the Amsterdam art center Fabrique des Lumières.

The meter-high walls of the Zuiveringshal on the Westergas terrain virtually disappeared through the latest multimedia technologies behind Dalí's surrealistic and metaphysical landscapes with music by Pink Floyd.

‘Dali: the endless enigma’ encompassed more than sixty years in the career of the Catalan master, who developed and invented various artistic styles.

It contained his works exhibited around the world (the Gala-Salvador Dalí Foundation at Figueres, the Dalí Museum in Florida, the Reina Sofía Museum in Madrid, and MoMA in New York).

The second exhibition 'Gaudí: Architect of the Imaginary', highlighting the work of the Catalan architect Antoni Gaudí, is a waterfall of moving images and music.

Through its modernist buildings, visitors were taken on a journey between dream and reality, from Parc Güell to Casa Batlló, via Casa Milà, to the Sagrada Familia. The imaginary city was created to the music of the American composer Gershwin.

Gianfranco Iannuzzi, creative director of the exhibition: “For this exhibition we have used the most modern multimedia technologies.

Because we take the visitor into a musical, visual and interactive experience, the senses are stimulated. The use of digital art in combination with the exceptional location enhances the total experience. It allows visitors to combine the work with the exceptional location to enhance the total experience. It allows visitors to experience the work of the Catalan artists Dalí and Gaudí in a new way.”

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These pages: ‘Dalí: The Endless Enigma’ at the Fabrique des Lumère in the Zuiveringshal in Amsterdam, he Netherlands.

Photos: Alaïa and Hans Fonk, courtesy of Fabrique des Lumère.

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'Gaudí: Architect of the Imaginary’'

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Barcelona Obertura The Spanish city of Barcelona is a tourist magnet pur sang. The beaches, the architecture by Gaudi, the art museums, its varied gastronomy from tapas bars, local Catalan cuisine to Michelin-starred restaurants, the Formula One Spanish Grand prix and in 2024 the America’s Cup, they all attract hordes of tourists.

And if that wasn't enough, the city wants to become a mayor player in the world of classical music and opera, to compete with European music centers like Paris, London, Berlin, Vienna or Amsterdam.

For that Barcelona Obertura was launched in 2017. The aim was to promote the city internationally through classical music, based on, a prestigious program of concerts and recitals in three spectacular music venues: the Liceu Opera, el Palau de la Música Catalana and L’ Auditori de Barcelona.

The city as a sum of cultural offer (music, museums, modern art, architecture), food, quality of life, and the Mediterranean way of life.

Left: major Barcelona attrattions are Can Framis Museum, Museu Nacional d'Art de Catalunya, Mies van der Rohe Pavilion, a tapas restaurant and the beach, creation by Gaudi, Formula One race, America’s Cup, Fundació Joan Miró and Museu d'Art Contemporani de Barcelona.

Right: the opera house the Liceu Opera at the Ramblas in the center of the city.

Photos: Hans Fonk et.al.

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Gran Teatre del Liceu

In the context of the 2023 Barcelona Obertura ‘7 Deaths of Maria Callas’ , an opera project by Marina Abramovic with music by Marko Nikodijevic was performed at the Gran Teatre del Liceu.

It was an interpretation of the dying scenes from operas by Vincenzo Bellini, Georges Bizet, Gaetano Donizetti, Giacomo Puccini and Giuseppe Verdi as a tribute to the incredible Maria Callas who performed all these opera’s and scenes in her time. Photo top left: David Ruano.

Right: the entrance and lobby of the Gran Teatre del Liceu.

The Gran Teatre del Liceu is located half way down the Rambla in Barcelona. It is dedicated to opera where the largest Wagner Festival after the Bayreuth Festival takes place on a regular basis.

Stars like Domingo, Pavarotti, Caballé, Callas and Tebaldi performed here.

The theater has an interesting genesis and a rich history. It goes back to the Sociedad Dramática de Aficionados in 1837, a union of liberal, armed citizen militia that founded a musical conservatory in a former convent of the Trinitarians located on the Rambla. Under the direction of Queen Isabel II it became the ‘Liceo Filarmónico Dramático de S.M. la Reina Isabel II in 1838.

The success of the venue led to plans for a new opera house.

The initiators wanted to build a more splendid opera house than would have been possible under royal management.

To finance this, they founded a company that accumulated profits from stock trading. The members of the ‘Societat de Propietaris’, the owners' company, reserved most of the lodges.

The Gran Teatre del Liceu designed by architect Miquel Garriga i Roca was opened in 1847. With 4,000 seats, it was the largest opera house in Europe. Disaster struck, when in 1861 the Liceu was destroyed by fire to be opened a year later. In 1994 the building burned down again. After the fire, the Gran Teatre del Liceu reopened in 1999 with nearly 2,300 seats on 6 levels. Since 1986 there were already plans to expand and modernize the building made by Solà Ignasi de Morales.

The magnificent foyer and the hall of mirrors were reconstructed according to the original spaces.

Below the concert hall, an auditorium with a restaurant was built and the stage was equipped with state-of-theart technology. The curtain has been modernized and was designed by Antoni Miró. The upper floor seats got TV technology installed, since not all seats have a view on the stage.

Throughout its history German and Italian operas in particular have prevailed. Verdi is by far the most performed composer. From the end of the 19th century to about 1950, works by Wagner were also regularly performed.

Since that time, the range of operas and composers has expanded. In the context of Obertura Barcelona the musical scope has further widened.

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These pages: after the second fire, the Gran Teatre del Liceu reopened in 1999 with nearly 2,300 seats on 6 levels.

Below the concert hall, an auditorium with a restaurant was built and the stage was equipped with state-of-the-art technology. The curtain has been modernized and was designed by Antoni Miró.

The upper floor seats got TV technology installed.

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L'Auditori de Barcelona

L'Auditori, is one of Barcelona's premier music venues. It is located in the Eixample, at the corssing of the three widest and longest avenues in Barcelona Diagonal, Gran Via and Meridiana.

The wood-lined main auditorium, the Sala Pau Casals, can seat 2,340 people. It is the place for a wide variety of musical styles, from symphonic music to rock and the works of singer-songwriters.

Here the Barcelona Festival of Contemporary Music takes place and hosts seasons of symphonic, chamber, early, world, choral and modern music.

It also runs educational programs, provides support for young artists, and brings music to the most disadvantaged members of the community.

Left: the central courtyard of L'Auditori decorated with striped paintings by Pablo Palazuelo, This page: a Delft Blue violin from the Netherlands, 17001750 at the Museu de la Música. The wood-lined main auditorium, the Sala Pau Casals and the entrance to the complex, that includes the Museu de la Música, the music school and the Escola Superior de Música de Catalunya

L'Auditori has three concert halls, each of them named after a Catalan musician: the Sala Pau Casals, the Sala Oriol Martorell, seating 600, and the Sala Tete Montoliu, seating 400.

The concert hall complex, designed by Rafael Moneo, opened in 1999 and since then has become a focus for Barcelona's musical life in the spheres of education, teaching and research.

The complex also houses the Museu de la Música, the music school, the Escola Superior de Música de Catalunya(ESMUC).

L'Auditori is the premises of the Orquestra Simfònica de Barcelona i Nacional de Catalunya (OBC). All these spaces are set out around a central courtyard: a monumental cubic lantern made of glass and decorated with striped paintings by Pablo Palazuelo.

The Palau de la Música Catalana was built between 1905 and 1908 by the modernist architect Lluís Domènech i Montaner as a home for the Orfeó Català.

The Catalan choir association ‘Orfeó Català’, founded in 1891, ordered construction that began in 1905. The Music Palace was inaugurated in 1908. The building is located in Sant Pere district, in the heart of historic Barcelona It is considered an architectural jewel of Catalan Art Nouveau, the only concert venue in this style to be listed as a World Heritage Site by UNESCO (4th December 1997), It represents an essential landmark in the cultural and social life of Catalonia. It represents a symbolic emotional heritage for the people who identify themself with its history.

The modernist building is designed around a central metal structure covered in glass, which exploits natural light to make Domènech i Montaner's masterpiece into a magical music box which brings together all the decorative arts: sculpture, mosaic, stained glass and ironwork.

The facade is adorned with mosaic pillars, each one with a different floral design. Busts of composers as Beethoven, Bach and Wagner represent the musical taste of the time.

Gothic and Moorish architectural elements have been incorporated into the design of the facade. One corner is decorated with a sculpture dedicated to the Catalan folk song ruled by the patron saint of Catalonia, Sant Jordi.

The Concert Auditorium is the piece de résistance and has been the venue for national and international musical event for more than a hundred years.

Palau de la Música Catalana

The stage is dominated by an organ, that was restored in 2004.

The auditorium itself is a mystical and paradoxical hall full of characters like the 16 muses surrounding the stage playing different musical instruments from different countries and regions. They symbolize the different styles of music and embody the spirit of the Palau de la Música Catalana.

The abundance of glass makes the hall a bright place.

Light penetrate the halls through stained glass windows and the central colorful dome symbolizing the sun.

The decorative elements made of ceramics with natural forms are also typical of Modernisme: a number of natural motifs such as flowers, palm trees or fruits adorn the room.

The complex consists further of the Sala d'Assaig de l'Orfeó Català, a place for concerts, lectures, small-scale presentations and the place where the Orfeó Català choirs practice. The Petit Palau is a modern auditorium that opened in 2004 and the Sala Lluís Millet is a meeting place dedicated to Maestro Millet, founder of the Orfeó Català.

As they say in the city: “Barcelona: Come for the music, Stay for the rest:

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photos: He Chuan

‘In Villa’ During the period of the Republic of China, an upper-class family moved into a mansion on the shores of West Lak e, Hangzhou, China.

Situated in an obscure location near West Lak e, the surroundings are characterized by charm and nature.

The residential villa has recently been transformed into the private restaurant ‘In Villa’ by Daxiang Design.

F EADSHIP C ATCH The 26.60-metre sport fisher Catch, one of very few such yachts ever built by Feadship, has been re-launched after undergoing a refit at the Feadship shipyard in Amsterdam, the Netherlands.

The iconic yacht was delivered to her original owner in 1984 as Gallant Lady and later renamed Patriot.

In 2005, she was put through a 15-month refit in Florida, an operation that saw her stripped back to a bare metal hull and completely refurbished.

Her latest refit was more modest in scope but no less significant, because her new owner decided to spare no expense and ship the yacht across the Atlantic to where she was built almost four decades ago.

The yacht arrived at Feadship in July 2022 without a definitive work list. The owner, who has long experience of refitting his other Feadships, visited the shipyard in person and a plan was developed so work could start.

The yacht was designed by Feadship De Voogt Naval Architects, with exterior design by Studio De Voogt and interior design by Lisa Pirofsky Designs Inc. It is powered by two MTU Marine Diesel engines of 1320 bhp that gives the yacht a maximum speed of 24 knots.

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Frederik Molenschot

Piet Oudolf Jeanne Gang

Petra Blaise

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Q Residences Located in a southern district of Amsterdam, the Netherlands, defined by high-density post-war housing blocks, Q Residences reimagines its context with a design that plays off the rationale recti-linearity of the surrounding 1950s developments. With a flowing façade and vibrant material palette of white pre-cast concrete and bronze aluminum paneling.

It was designed by Studio Gang, headquartered in Chicago with offices in New York, San Francisco and Paris.

The studio worked with Amsterdam based Associate Architect Rijnboutt on the realization of the 23-floor high-rise named Quartz and the eight-floor mid-rise named Qube.

Architect Jeanne Gang, founding principal and partner of the architectural firm: "We designed Q Residences to strengthen residents’ connection to each other and to the ample green spaces that define the Amsterdam Buitenveldert district. At ground level, Qube and Quartz form a new generous public plaza that brings people together around art and landscape. And on Quartz, the balconies migrate in and out of the façade to extend sightlines diagonally in all directions and allow residents be part of the building and in synch with the city and each other at the same time.”

The development is the first in Europe completed by Studio Gang.

A collective of more than 130 architects, designers, and planners working in four locations, the firm has its European office in Paris since 2017.

In addition to Q Residences, work on the continent includes the University of Chicago Center in Paris and the Odyssey mixed-use redevelopment in Paris’ La Défense.

Significant projects opening in 2023 include the Richard Gilder Center for Science, Education, and Innovation at the American Museum o f Natural History in New York City, the Arkansas Museum of Fine Arts in Little Rock, Arkansas, and Tom Lee Park in Memphis, Tennessee in collaboration with SCAPE.

For the Q Residences they worked with local artists and designers. The plaza was designed by renowned Dutch garden designer Piet Oudolf with Deltavormgroep and Studio Job, Job Smeets, created a a new sculpture in front of the building. Petra Blaise designed curtains that play with perceptions of transparency and Frederik Molenschot created a new light sculpture. Pier Boon desigded part of the entrance. The project was developed by Kroonenberg Groep in collaboration with NEOO. OBJEKT

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OBJEKT INTERNATIONAL

THE WORLD STANDARD F OR STYLE

d 15 OBJEKT©International is 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.

WWW.OBJEKT-INTERNATIONAL.COM

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