OBJEKT©International D9

INTERNATIONAL

OBJEKT© iNTERNATIONAL Living in Style no. D8 Published by Hans Fonk Publications bv.

Distripress member - issn 1574-8812 Copyright ©Hans Fonk

The era of revolution in interior design has been behind us for several decades.

In this period of time it is rather an evolution, according to Marva Griffin Willshire, the grand lady of interior design and one of the key figures in discovering new design talent.

As one of the figureheads of Salone del Mobile, Milano, the most important international design event, she has her finger on the pulse of the major developments in modern design.

OBJEKT International had a conversation with her and made a striking production about a special manifestation: ‘The Supersalone’; uncharted terrain as a prelude to the design tsunami of the Salone del Mobile the years to come.

Corporate head office: Raadhuislaan 22-B NL-2451 AV Leimuiden - Netherlands t:+31 172 509 843 info@objekt-international.com www.objekt-international.com Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc. 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid.com Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D-10117 Berlin, Germany OBJEKT International ASIA/CHINA Cora Feng Xi Tang Art Center. No 2. Xi Ba He Road, Chaoyang district, 100028 Beijing, China Contributing writers: Izabel Fonk, Nicole Henriquez, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Rene Wilms, Mercedez Zampoli.

Contributing photographers: Paolo Abate,Michal Chelbin, Dennis Fisher, Alaia Fonk, Hans Fonk, Tomek Grden, Matteo Imbraiani, Nathan Keay, Manolo Langis, Occhiomagico, Irving Penn, Yael Pincus, Silvia Rivoltella, Omri Rosengart, Elad Sarig, Tommaso Sartori, Kevin Scott, studio_bouroullec, Harshan Thomson.

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

photo: Alaïa Fonk

In the Italian city of Italian Bologna, the manufacturers of architectural ceramic products showed at the Cersaie event what rapid creative progress means. The region is an epic world center of ingenious ceramics.

OBJEKT International was present and made a special report along the fringes of design.

What creativity is capable of is shown by the work of icons such as Irving Penn, Mendini and Friends and Jean-Luc Godard.

Their creations are of lasting beauty and although they illustrate an image of their particular time, they remain timeless and a source of inspiration.

Founder and editor-in-chief: Hans Fonk Editor-in-chief: Izabel Fonk

H A N S FON K

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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 : HERMÈS AT VIA MONTE NAPOLEONE , MILAN

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PHOTO : HANS FONK

WHAT’S UP FOREWORD

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TONHALLE ZÜRICH

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JEAN-LUC GODARD

MENDINI & FRIENDS PALAZZO VENDRAMIN GRIMANI, VENICE

CHICAGO SHORES

GIBRALTAR’S ARMY BARRACKS MARVA GRIFFIN WILSHIRE

SALONE UNCHARTED

BOURSE DE COMMERCE PINAULT COLLECTION

IRVING PENN

CONTRASTING UNITY

MIAMI BEACH DELIGHTS

RIVA DIABLE

PARIS SUNRISE

THE AVAILABLE CITY SAVANDURGA HILL

10 18 26 32 36 44 46 66 70 76 84 94 100 112

CERAMICS ON STEROIDS

116 124 136

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THE BALL

by Izabel Fonk Top Quality Horse Training and Breeding www.fonksporthorses.com

T

 h on

 i r ü Z e

In September 2021, theTonhalle Zürich opened again after a thorough renovation with a performance of Mahler's Third Symphony by the Tonhalle-Orchester Zürich conducted by music director Paavo Järvi. The symphony was composed in the period around1895, the year in which the Tonhalle Zürich was inaugurated.

The Tonhalle was built between 1893 and 1895, and designed by the Viennese architects Ferdinand Fellner and Hermann Helmer, who had built the Zurich Opera House and many theaters and concert halls in Europe.

The architects were specialists in acoustics, and also achieved the excellent acoustics in the Tonhalle.

The concert hall, at Claridenstrasse 7 in Zurich, was inaugurated in 1895 by Johannes Brahms. In 1939, it became part of the Kongresshaus Zürich.

Major renovation works on the hall began in 2017. The renovations were conducted by architects Elisabeth und Martin Boesch Architekten and Diener & Diener Architekten with Elisabeth Boesch in charge. During the process the Tonhalle became a new organ built by Orgelbau Kuhn from Switzerland.

There was already an Kuhn organ in Zurich's first Tonhalle in the Alten Kornhaus. The organ, inaugurated in 1872, was then transferred to the Neue Tonhalle, which opened in 1895, where, after two enlargements in 1927 and 1939, it was in service until the 1980s.

In 1988 the Tonhalle received an organ from Kleuker & Steinmeyer. The organ took up a relatively large amount of space on the orchestra podium and also hid the view into the organ niche. The new organ concept by Kuhn now meets the visual and spatial requirements. The old organ was donated to the Koper Cathedral in Slovenia.

Photos: Mariko Reed

The project was inspired by the Barcelona Pavilion designed

by Mies van der Rohe.

The combined pool and guesthouse was designed to connect the pool area to the mid-century modern main residence. It is a creation by Klopf Architecture in the Sonoma valley, just north of San Francisco: a region, like its neighboring Napa Valley, famous for its wines.

The new pool house/guest house was one component of an integrated master plan that included renovations to the main house, the new pool, and a new art studio. The aim was to ensure that all structures were carefully aligned to and to create cohesiveness throughout the property.

The semi-retired homeowners asked that the structure served multiple purposes, primarily a place to relax and to enjoy the pool while also accommodating overnight guests comfortably.

They were looking for an open, modern and warm design that respected the minimalism of their mid-century modern style home, one that was flexible enough to enjoy everyday and allow guests their own privacy.

The roof of the building is extended outwards on one side creating deep overhangs that provide cooling from the hot Sonoma sun.

Horizontal cedar siding continues those lines and adds a modern touch to the pool house. The same cedar decking material is installed adjacent to the concrete patio slabs creating comfortable pathways surrounding the structure. Sliding glass doors create voids, that opens the space out toward the patio and pool.

At night, a double-sided fireplace adds warmth to both the outdoor seating area as well as the living space inside.

The interior polished concrete floors keep guests cool during the day and provide a seamless connection to the concrete patio surrounding the structure. The full sized bathroom is bright and airy with floor to ceiling windows that allow natural light to flood the room. A second exterior shower provides a quick rinse after a cooling swim.

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PHOTO: RETO GUNTLI

UNIQUE EXPERIENCES Selected Retreats for Family & Friends

WWW.UNIQUE-EXPERIENCES.CH

POWER FLOWERS series of photo artworks by

Hans Fonk photo printed on art paper. sales info: izabel@objekt-international.com

Jean Luc Godard FONDAZIONE PRADA

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For the permanent exhibition at Fondazione Prada Milan Godard decided to transfer the technical material, used in his latest films’ shooting from 2010, as well as furniture, books, paintings and other personal items from his studio-house in Switzerland.

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Fondazione Prada has celebrated her recently published book project Quaderno #32 with the permanent exhibition ‘Le Studio d'Orphée’, conceived by the famous French film maker Jean-Luc Godard for Fondazione Prada's Milan venue.

‘Le Studio d'Orphée’ is an atelier, a recording and editing studio, a living and working place of the French director. Godard decided to transfer the technical material, used in his latest films’ shooting from 2010, as well as furniture, books, paintings and other personal items from his studiohouse in Switzerland.

The word ‘atelier’, used by Godard to define this space, evokes the handcrafted dimension that characterizes his practice as a director, combining his own movie

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production to the theatre and visual arts fields.

Within Le Studio d'Orphée, the viewers attend the screening of nine short movies created by Godard between 1081 and 2008 and the movie Le Livre d'image in the physical place where the film was realized.

Thus, it is possible to closely observe the creative process at the origin of a cinematographic work.

The Quaderno #32 features a series of photographs selected by the French director that are accompanied by quotes which have been created, selected or reinterpreted by Godard himself.

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These pages: an image of one of Godard’s latest movies and a detail of the interior of his reconstructed studio at Fondazione Prada in Milan.

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Above: Occhiomagico, Teoria delle due ombre (Modulando), 1983, 50x40 cm, piece unqiue.

Top right: Alessandro Mendini’s, Here, 2012- 2021, lacquered polyethylene sculpture, 50x11x50 cm, limited edition.

Below that: Poltrona di Proust Paradise, by Mendini, 2019, ceramic miniature, limited edition 28x20x16.5 cm.

IN THE GARDEN OF EDEN

ALESSANDRO MENDINI AND FRIENDS

Above: Raggi Franco, 3 case, ink and watercolor on paper, 33x24 cm, 2018. Below: Dalisi Riccardo, No Title, from the series Ultrapoverissimo,1998, tin and acrylic 32x45x 5 cm.

Courtesy Archivio Riccardo Dalisi.

Right: Studio Job for Selettie, Tiffany Tree Apple, 2016, 91x78 cm.

A landscape of things with Alessandro Mendini and friends, that is what that's what Stefano Casciani had in mind curating the exhibition ‘In the Garden of Eden’ at Galleria Antonio Colombo Arte Contemporanea in Milan.

The idea of the exhibition came from Colombo himself and he worked together with Mendini’s daughters Elisa and Fulvia Mendini, bringing together works by some of the artists and designers who accompanied Alessandro Mendini in projects on many different scales.

Stefano Casciani: “It would be almost impossible to calculate the precise number of creative personalities with which Mendini collaborated during his long career. The Garden of Eden, presented at the gallery of Antonio Colombo, is but one piece in a gigantic puzzle, where, as in a famous work by Alighiero Boetti, we can see ‘Tutto; ‘Everything’ or at least a large part of the international cultural and artistic landscape Mendini scanned with his invisible but effective mental radar and sonar devices.

The opportunity to curate an unusual project based on an idea of Antonio Colombo, offered to me by Mendini’s daughters Elisa and Fulvia, is also a useful chance to investigate how the people who worked together with Mendini have been able, necessarily, to adapt to artistic wanderings,” Elisa and Fulvia Mendini: “We have always watched our father Alessandro Mendini create worlds and galaxies, inviting artists and authors, designers and architects, making connections between people. He did it out of curiosity, to create bridges or short circuits, for affinities, by instinct, through human proximity or distance, similarities and diversities. An infinite and vital patchwork, an eternal kaleidoscope, in the utopian vision of a

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This page: Occhiomagico, Le grandi labbra, Domus, 1981, 2020, cm 40x30, ed di 5, digital fine art print.

Right:Michele De Lucchi ’s Lampada La Spaziale, Alchimia, 1978, pen and colored pencils on cardboard, 2 x29,7 cm.

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mental and psychic landscape, as wide-reaching as possible, powered by all kinds of creative expression, including his own.”

Above: Michele De Lucchi, Casetta 162, 2008, oak and walnut, 20.5x34x21 cm. Beside that: Casetta by De Lucch, 2014, pencil on paper, 12,3x17,5 cm.

Below: Arduino Cantafora , Domenica, 2016, oil paint on wooden panel 80x120 cm.

Right: Dorota Koziara , Angelo, 2021, woven wicker, 185120x85 cm. Foto: Tomek Grden.

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They conitued: “A few years ago Antonio Colombo suggested the idea of this exhibition to our father, but only after the latter’s death did the project truly take form. Colombo asked us to put together a small number of artists, starting from that cultural area of the 1970s, 1980s and 1990s that could create an atmosphere of friendship and artistic affinities, also with Antonio’s history as a gallerist, collector and industrialist.”

“We have done this with the help, as curator, of Stefano Casciani, a friend for many years. The project can be summed up with these words of Alessandro Mendini: "The creative result produced by a group is greater than the numerical sum of the single contributions. This is the mystery, the miracle of the group that has always attracted and seduced me.”

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Palazzo Vendramin Grimani

After two years of restoration work, the Fondazione dell’Albero d’Oro opened the doors of Palazzo Vendramin Grimani in Venice for the first time to the public.

Herewith the Fondazione gave back the life and soul to the splendid building on the Grand Canal, making it available to the city and its inhabitants and transforming it into a place of research and study to rekindle the historical and artistic ties that exist between Venice and the rest of the world.

The opening of the palazzo celebrated the presence of works loaned by major private collectors, helping to revive collecting spirit of the great Venetian families who used to live in this splendid sixteenthcentury residence overlooking the Grand Canal.

This page: lithograph from 1846

by Marco Moro of the Palazzo Grimani in the San Polo district in Venice, Italy.

Right: Pietro Grimani dall’Albero d’Oro (1677-1752), a former Venetian ambassador in London, became doge. He transformed his residence into a Renaissance cultural salon.

The interior of Palazzo Vendramin Grimani looks as splendid as it did in the time it took on the Renaissance appearance. At the beginning of the sixteenth century, the doge of Venice, Pietro Grimani transformed his palazzo into a cultural salon open to the currents of Enlightenment.

Andrea Vendramin, Venice’s Doge from 1476 to 1478, is the owner of the palace, which at the time was a casa fondaco in Byzantine style. Between the end of the fifteenth and the beginning of the sixteenth century, Palazzo Vendramin Grimani took on the Renaissance appearance that still distinguishes it today, thanks to a refurbishment undertaken at the behest of Giovanni Vendramin.

The palazzo’s façade is an example of perfect artistic harmony, inscribed within a square and thus within a circumference. The entire façade is clad in a facing of Istrian stone and embellished with sculptural details and inserts of red Egyptian porphyry, verde antico Thessalian marble and red cipollino marble from Iasos.

In 1517, the marriage between Antonio di Girolamo and Elisabetta Vendramin, great-granddaughter of Doge Andrea Vendramin, marked the origin of the branch of the Grimani family of San Polo, which from the middle of the seventeenth century was also be called ‘dall’Albero d’Oro’.

In 1741, Pietro Grimani dall’Albero d’Oro (1677-1752), a former Venetian ambassador in London, where he met Isaac Newton and was made an honorary member of the RoyalSociety, became doge.

Pietro Grimani had already transformed his residence into a cultural salon open to the new currents of Enlightenment thought, enlivened among others by Andrea Musalo (a theorist of ‘rigorist’ architecture), creating a circle which gave rise to the singular figure of the gondolier-poet Antonio Bianchi.

In 1894, Maria Carolina Grimani Giustinian (1873-1959) married Andrea Marcello (1861-1922), thus marking the end of the dell’Albero d’Oro branch.

In 1969, the palazzo was bought by the Sorlini family of Brescia, who undertook some restoration work.

In 2018, Palazzo Vendramin Grimani was purchased by the LFPI group through the FLE property company. Under the direction of Stefano Keller, managing director and partner of LFPI in Italy, major building, engineering and restoration work breathed new life into the building.

In 2020, Palazzo Vendramin Grimani went through several phases of building andplant engineering. The implementation of a systematic set of maintenance and restoration works demonstrated the owner’s desire to “take care” of one of the most beautiful palaces in the San Polo district.

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Left: Palazzo Vendramin Grimani at the Canal Grande in Venice, Italy. It was the home of Andrea Vendramin, Venice’s Doge from 1476 to1478. In tha time it was a casa fondaco in Byzantine style. Between the end of the fifteenth and the beginning of the sixteenth century, Palazzo Vendramin Grimani took on the Renaissance appearance that still distinguishes it today.

Below: one of the halls with artworks loaned by major private collectors, helping to revive the collecting spirit of the great Venetian families who used to live in this splendid sixteenthcentury residence overlooking the Grand Canal.

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OPULENCE

AT TH

HE

NORTH SHORE

The house is a traditional American mansion with columns and porch entry. It contains colonial and Victorian elements at the same time.

It is an extraordinary bright house that stands on the North Shore of Lake Michigan, Chicago, undisturbed at the end of a driveway and surrounded by green lawns. The serenity continues in the interiors designed by Martini Interiors in collaboration with Prestige Designs Chicago.

They created the living, kitchen, pantry, bar, walkin closet and bathrooms. All the furniture was custom-made and suited to the needs of each member of the family.

Martini Interiors had put the art of handmade in Italy to create comfortable, functional and in any case contemporary spaces.

All the color shades are light and give lightness and brightness to the rooms. The light tones are embellished by dark walnut and by ebony, warm and enveloping essences. These are enriched with antique brass inserts.

The furniture has simple shapes with a strong material mix and minimal modularity.

Each element is personalized, from the finishes to the handles.

The kitchen integrates with the style of the staircase and the living room. It communicates with the living area making the large space harmonious and functional.

Designing the seven bathrooms, the emphasis was placed on an environment dedicated to the care of the body and the physical wellness.

Special attention was focused on functionality and creating a luxury environment.

Certified water-repellent finishes have been added to the handcrafted materials and the total white tones, guaranteeing quality in the long term.

The majestic master bathroom was enriched with blue eucalyptus finishes and embellished with decorative elements in antiqued brass.

The custom-made walk-in closets have four sides surrounding the central platinum white lacquered chest of drawers for storing clothes and jewelry.

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Gibraltar ’s ar my bar racks revamped

The digital bank Xapo is situated in the shadow of its famous rock, inside a former army barrack in the heart of Gibraltar’s old center. The rear of the structure is adjoined to the remnants of the original city walls and defense towers, while the front facade faces Grand Casemates Square. The series of barracks (or ‘casemates’) were built by the British army in 1817, and are among the most preserved of the military buildings that characterize this once fortified town.

Lagranja Design found the barracks in a semi-ruined state, unappreciated for their historical significance and crying out for a new use. The studio was asked by the Xapo bank to create their headquarters and first physical HQ and the first transformation of a historical building by Lagranja.

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The main intent of the project was to give XAPO, a company that operates wholly in the digital domain, a physical headquarters and presence. The company now occupies two arched bays of the barracks complex of 800 square meters constructed in local limestone, with ceilings supported by original wooden beams. These beams and the stone walls were cleaned and restored to their natural state, providing the space with the feel of an ancient bank vault.

Combining archeology and modern design as a starting point, Lagranja Design transformed the space into a contemporary office.

Harmony, functionality, respect for the structure’s antiquity, and an element of surprise guided the design project. Clients enter XAPO from the main square to the bay, which is now a reception area. Shallow pools flank either side, adding a counterbalance to the structure’s lack of height, and lending luminosity to a dark space. At night, laser beams crisscross the pools and reception area, which is an added bonus for the public, who can view the installation from the square outside.

The headquarters consist of a boardroom with a kitchenette, lounge area, a walled patio, a garden wall and BBQ area. The offices are clustered around the patio, partitioned by glass screens for transparency and fluidity.

The majority of bespoke furniture was 3D printed in Barcelona using bio corn-based plastic. Modular in form and gently textured in appearance, the idea was to create a sense of community and a casual narrative where all spaces are harmonious.

The reception desk and room dividers in the waiting room were created with an interwoven composition of earth-colored, semi-circular shapes. The textile upholstery for the softly rounded Lagranja-designed furniture was chosen for its natural composition and warm colors, instilling an inviting contemporary-living feel within a new breed of corporate space.

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Below: The majority of the bespoke furniture was 3D printed in Barcelona using bio corn-based plastic.

The supports of the boardroom table resemble giant amphorae.

Right: the walled patio that served as a gun powder storage facility. photos: Lagranja Design

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trasposizioni Contemporary tapestries exploring the multifaceted world of femininity in North Macedonia: that is Trasposizioni, the tapestry art by the textile artist and designer Margarita (Ita) Aleksievska Sclavi, aka House of Ita, created following her a love for unconventional relationships and an aptitude for arrangement, for combining layers, materials and fabrics that interact and interplay.

In keeping with the multi-ethnic allure, her works take its cue from the North Macedonian roots of the artist, who uses traditional Slavic-Macedonian women's clothing of Byzantine as a raw material. The women traditionally produced their dresses by hand, creating subtle variations that would embellish an otherwise ordinary item of clothing, which denoted the regional and cultural affiliation of the wearer.

Trasposizioni was born from the desire to subjectively reinterpret these high quality garments in a contemporary key, and to give them new meanings and functions.

Margarita deconstructed and reassembled them at will, investigating their unexpressed potential, and transforming it into unexpected tapestry.

In the re-elaborated textures, fragments of clothing, shreds of sleeves, collars, embroidery and ribbons are intertwined with gold, bronze and silver leaves, and folkloric ornaments hand-painted by the artist.

Right: textile artist and designer Margarita (Ita) Aleksievska Sclavi presenting Trasposizioni.

The premiere of the event took place during Edit Napoli 2021.

Photos: Paolo Abate

Trasposizioni by textile artist and designer Margarita (Ita) Aleksievska Sclavi.

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Marva Griffin Wilshire

Marva Griffin Wilshire is one of the key figures in the world of design. Born in El Callao, Venezuela, she moved to Milan in the Seventies and started working in PR for the C&B Italia company (now B&B Italia), working with Piero Ambrogio Busnelli, the company’s owner and chairman. That was when her star in the design world started rising.

She became the correspondent and representative in Italy for a number of Condé Nast Publications including Maison & Jardin, Vogue Decoration, American House & Garden, and American Vogue. She also is honorary ambassador of OBJEKT International. She have seen the changes over the years.

Marva: “Due to the pandemic, things are changing: for example this Supersalone. It was done because the exhibitors wanted to show, that they are continuing to work and producing new designs. It is clear that in the design world there is evolution and not revolution. Mid last century you had the revolutionary great masters of design who put Italy on the design map. They were succeeded by a generation of entrepreneurs that were doing great things in terms of producing groundbreaking designs.

Most of these entrepreneurs have past away and now you have a young generation taking over a more marketing driven evolution. There is no lack of ideas, but you need producers and brands to materialize these ideas.”

She still enjoys here role in the design world. Her collection of over 500 design pieces, presented to her by the designers, will be on display at the Polo Formativo Accademy of Federlegno at Lentate sul Seveso in the province of Milan, as the SaloneSatellite Permanent Collection. Polo Formativo del Legno Arredo is a school set up to respond to training and employment demands from wood furnishing sector companies continually on the lookout for young people wanting to embark on new adventures in the wood furnishing and design world.

One of her first great achievements was organizing Incontri Venezia (Fabrics for Furnishing) in Venice for eight years, before joining Cosmit, the organizers of Salone Internazionale del Mobile, Milano. As the International press chief of the main design event in the world, she gained enormous international respect Here she launched in 1998 the first edition of the Salone Satellite, a special event within the Milan’s Salone; a showcase for young creative designers and graduate-to-be students from universities and design schools from all over the world. One of the early participants and in the meantime the world wide famous Japanese designer Oki Sato of Nendo illustrated the importance of her role: “She opened the door to the European design world for us. She is our Italian mother definitely.”

For Marva’s continuous commitment in SaloneSatellite she was honored in 2014, with the Premio Compasso D’Oro XXIII Alla Carriera, a ward for all she has achieved and has done for young designers.

The new platform was the result of an enviable challenge that Manlio Armellini, then Cosmit International’s managing director in charge of the Fair, issued to Marva. The design maven immediately rose to the task. With the Salone Satellite, she opened the door for hundreds to successfully launch their design careers. In 2002, Terry Riley, former Chief Curator of the Architecture and Design Committee at MoMA, invited her to become a member of the Architecture and Design Committee at MoMA.

The list of her activities is as long as it is important: since 2001 she is a member of the Philip Johnson Architecture and Design Committee at the Museum of Modern Art (MoMa), New York, U.S.A. In 2005 she created SaloneSatellite Moscow and in 2016 she launched SaloneSatellite Shanghai as a homage to young designers from China.

She was named Expo 2015 WE-Women Ambassador for the 2015 Universal Exhibition hold in the city of Milan. In December 2016 was named Italian Design Ambassador by the Italian Ministry of Foreign Affairs and International Cooperation, the Italian Ministry of Cultural Heritage and Activities and Tourism, the Italian Ministry of Economic Development together with Triennale Design Museum for conferences on “Italian Design Day” in different cities around the world.And in 2021 she received the Honorary Master’s Degree in Product Service System Design from the Politecnico di Milano.

Right: Marva Griffin Wilshire Original photo:Tomoyuki Tsuruta.

ALONE NCHARTED

Left: one of Supersalone’s eye-catchers: a Jacopo Foggini sculpture for Edra. photos of Supersalone production: Hans Fonk.

Above: the Supersalone presentation by Diesel in collaboration with Foscarini. Right: one of the Supersalone showcases at the first show of Salone del Mobile in Milan after the pandemic, curated by architect Stefano Boeri. Here a workplace installation with Ottochairs designed by Antonio Citterio with Toan Nguyen for B&B Italia in 2008.

The ‘Salone del Mobile Milano’ is without doubt the biggest interior design show on earth. Every year in April, the Italian city of Milan is overrun by design lovers from all over the world. Until the spring of 2020, when the pandemic hit and two editions of the event had to be cancelled.

But it made a come back in September 2021 with Supersalone curated by architect Stefano Boeri and under its new president Maria Porro. Supersalone was presented as a thematical and scenographic display, where companies were able to show their best work from the past 18 month.

For the new concept Boeri collaborated with designers Andrea Caputo, Lukas Wegwerth and Giorgio Donà, curators Maria Cistina Didero and Anniina Koivu, and graphic designer duo Marco Ferrari and Elisa Pasqual of Studio Folder.

The exhibition was staged as a ‘library of design’ featuring a specially designed flexible and modular wall system to offer different display opportunities to brands.

All installations were recycled after the show.

To underline its sustainability efforts, Salone Del Mobile partnered with local initiative ‘Forestami’ to create a forest of 200 trees throughout the fairgrounds that will later be planted across the city of Milan.

Salone’s new president Maria Porro is marketing and communications director at historic Italian design brand Porro, president of t he trade association for Italy’s furniture manufacturers and a board member of the Altagamma Foundation.

“I grew up with the Salone del Mobile. I am honored to take on this role at such a vital and transformative time. I and the entire board of directors will be working to ensure that, as a unique and indispensable design showcase, the Salone rises to meet future challenges regarding sustainability, digitalization, research, innovation, creativity and inclusiveness, as ever maintaining the highest quality,” according to Maria Porro.

The Salone del Mobile is also the catalyst for the city to swing full throttle into design mode with events everywhere.

OBJEKT International created its own, distinctive interpretation of the design festival.

Above: Seletti at Supersalone. Beside that: Bellosta Rubinetterie.

Faithful to its corporate philosophy, the company presented an installation aimed at promoting socio-cultural themes. They entrusted the concept, to the multifaceted artist Riccardo Poli. His belief is that beauty must necessarily transit through culture in all its forms.The concept of the hand-painted work focused on rebirth, hope and the importance of human contact.

Right: Butterfly sofa of Marinelli Home designed by Giovanni Pesce.

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Left: the Past Present Future presentation at Dimore gallery.

In Past, Dimore celebrated the design masters of Italian Rationalism and Future was the first ever retrospective dedicated to architect and industrial designer Claudio Salocchi.

Photos: Silvia Rivoltella.

Below: during Sapersalone Romeo Sozzi opened his new Bottega Ghianda shop Milan, in the heart of the Quadrilatero della Moda.The shop itself was also designed by Romeo.

Right: Giorgetti’s iconic rocking chair Move, designed by Raffaella Pugliatti in a structural decomposed version.

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Above: La Casa Fluida (Fluid Home) by Elisa Ossino Studio for Elle Decor Italia at the historic Palazzo Bovara in Milan.

The landscape design was by Marco Bay. Right: the French luxury brand Hermès unveiled their new collections for the home in a Hand-Painted Indoor Village.

Here the colorful window display at the store via Monte Napoleone.

Above: the basic form of the he Dior Medallion Chair. The chair is deeply rooted in the Maison’s history. The oval surmounted by a Fontanges bow is a décor symbolic of the Louis XVI style, and a chair which Christian Dior choose as his fashion show seating since the founding of the label. It represents Dior’s appreciation for ‘sober, simple and above all classic and Parisian’ design. In 2021, the chair was brought to new life by artists from all walks of life and cultural backgrounds.

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These pages: reflections of contemporary interior design.Top left: the Clubhouse, as part of The Villas project by Minotti Studio. Left: Love designed by Fabio Novembre for Driade.

Bottom left: presentation by Flos at the new B Studio at Via Durini in Milan. D-Studio has the brands B&B Italia, Maxalto, Azucena, Arclinea, Flos and Louis Poulsen under one roof. Beside that; the T-Bone designed by Jaime Hayon for Ceccotti Collezioni, Armani Casa and the show by Cassina with the revival of the true style icon Soriana designed in 1969

by Afra and Tobia Scarpa.

Above right: The Rope by Atelier Ief Spincemaille from Belgium, designed to fit into a local context: a landscape, a building, a statue or monument, an event, an historical context, a neighborhood or neighborhood operation, but also a family or even an individual.

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These pages: car design and specially the design of super sports cars and racing cars.

Below: a prototype of a Formula One car designed and constructed according to the new 2022 regulations. It was presented during the Supersalone at the Heineken pavilion. Beside that: Marcel Wanders Studio created a conceptual interior design exhibit for Audi City Lab in the via della’Spiga in Milan under the title ‘Enlightening the future’. “Nothing has meaning but the meaning we give it. Audi City Lab gives new meaning to the infinite possibilities of light,” Marcel Wanders. Audi presented the RS e-tron GT* and the Q4 e-tron* during the vent. Far right: in the foreground an icon of Italian design, the legendary and innovative Lamborghini Countach, the first car by the brand to have composite materials. The 152 Countachs were produced from 1974 to 1978. It was propelled to a top speed of 315 km/h by a 4 liter, V12 engine producing 375 hp. The car was showed on the occasion of the presentation of the Lamborghini Countach LPI 800-4 (in the background). The new car will be produced in a limited-edition run of 112 and is a futuristic homage to the redefined supercar look.

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Top left: Nilufar presented Matacubi by Pietro Consagra curated by Nina Yashar with Luca Massimo Barbero in collaboration with the Archivio Pietro Consagra. Exhibition design by Ruggero Moncada di Paternò. Photo: Matteo Imbraiani. Bottom left: the rigorous yet ethereal approach to lighting by American designer Lindsey Adelman at Alcova. Beside that: woven loungers by Lovato from Brasil.

Above: garden furniture by Paola Lenti.

Far left: window display of fashion brand Kenzo in Milan. It supported the WWF in its goal to double the number of wild tigers by 2022.

Left: representing the world of Kartell at Supersalone 2021, table lamps of the Battery series designed by Ferruccio Laviani.

Below: presentation by Moooi at a Milanese flower kiosk of the Hortensia Armchair designed by Andrés Reisinger and Júlia Esqué.

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Left: the Poet Sofa, a love seat designed by Danish architect Fin Juhl together with master carpenter Niels Vodder. The sofa was for the first time presented at the Copenhagen Cabinetmakers’ Guild Exhibition in 1941. Behind that an illustration by the Danish illustrator Jørgen Mogensen.

Above: a composition by one of the grandmasters of Italian modern design Giulio Cappellini who, since he joined his fathers company in 1977, had the precise intent to bring innovation and to launch the brand on the international market. Both images are from the window displays of Rinascente created in celebration of the Supersalone and Milanese design week.

Bourse de Commerce Pinault Collection

Left: part of the lighting project that Ronan and Erwan Bouroullec developed for the Bourse de Commerce - Pinault Collection in Paris with Flos Bespoke.

The lighting system which Ronan and Erwan Bouroullec designed, had to interact with the recent reinterpretation of the Bourse by architect Tadao Ando. Photo: Tommaso Sartori.

Right: la Bourse de Commerce in Paris after the renovation by Ando. It houses part of the Pinault Collection of contemporary art.

Photo: studio_bouroullec.

The Bourse de Commerce - Pinault Collection is the latest museum in the network of sites and initiatives developed

by François Pinault since 2006. It offers a perspective on the contemporary art collection he has amassed over the past forty years. In Venice, two historical buildings, the Palazzo Grassi and Punta della Dogana, were transformed into museums to present François Pinault’s Collection.

Similarly, he chose to preserve and transform this symbolic Parisian building, part of the city’s historical heritage. The renovation works were led by Tadao Ando Architect & Associates together with the agency NeM / Niney & Marca Architectes, and the agency Pierre-Antoine Gatier, chief architect for French National Heritage.

"The opening of the Bourse de Commerce, a new site in the heart of Paris to display my collection, marks a new phase in the execution of my cultural project, which is to share my passion for contemporary art with the widest possible audience," François Pinault.

The collection consists of over 10,000 works by almost 400 artists from all over the world, features paintings, sculptures, videos, photographs, audio works, installations, and performances. This ensemble, dedicated to art from the 1960s to the present day, presents a vision, through the gaze of a passionate art lover, offering a subjective perspective that reflects its era.

The Bourse de Commerce building illustrates four centuries of architectural and technical feats. It associates the first free-standing column in Paris, erected in the 15th century for Catherine de’ Medicis’ palace.

It was originally a circular wheat exchange building, constructed in 1763–67, with an open-air interior court that was later capped by a wooden dome. Its circular 18th-century design was capped in 1812 with a spectacular metal and glass dome. In a major reconstruction in 1888–89 much of the structure was replaced, although the layout remained the same and the dome was retained albeit adding glass and a mounted canvas. The building then became the Paris Stock Exchange.

With Tadao Ando’s contemporary 2021 architectural contribution, the monument has been injected with new life.

It is the largest project designed by Tadao Ando in France.

“With the Louvre to the south-west and the Pompidou Centre to the east, the Bourse de Commerce is part of the newly-redesigned Les Halles district, and is truly located in the heart of Paris. My job was to transform this building into a contemporary art museum, without touching the structure that is classified as a historical monument. I was to revive the building, honoring the memory of the city inscribed in its walls, and slot another structure into its interior, inspired by the concept of Russian dolls. The idea was to design a lively space that would foster a dynamic dialogue between the new and the old, which is what a site dedicated to contemporary art should be. The architecture was to serve as the link between the threads of time, the past, present and future, as was the case in François Pinault’s Venice projects.”

Tadao Ando.

Left: the impressive light installation Ronan and Erwan Bouroullec created together with Flos Bespoke.

Right: the central hall of the Bourse de Commerce Pinault Collection where the existing architectural elements meet with Tadao Ando’s contemporary 2021 architectural art. photos:Tommaso Sartori, Courtesy of Flos.

I RVI N G PE N N Fashion, Small Trades, 1960s San Francisco at Jane Corkin ‘s

"I found pictures trying to show peoples in their natural circumstances generally disappointing but feel secure in the artificial circumstances of the studio accepting for myself a stylization that I felt was more valid than a simulated naturalism."

Irving Penn

Irving Penn (1917–2009) was one of the twentieth century's great photographers, known for his arresting images and masterful printmaking, creating timeless beauty.

He was one of the founders of modern photography combining his artistic view with meticulous craftsmanship.

Penn also was painting and drawing as a creative pursuit.

Corkin Gallery in Toronto, Canada, presented an exhibition in honor of the versatility of his masterful work.

Jane Corkin began working with Penn in 1979, the year she opened her gallery. The show brought together photographs spanning six decades of the artist’s career, revealing an unparalleled ability to elevate and dignify his subjects with exceptional expertise and rigorous attention to nuance and composition.

Previous pages: Irving Penn, The Tarot Reader (Jean Patchett and Bridget Tichenor), New York, 1949 © Condé Nast.

These pages Left: Irving Penn, Women in Wartime (Dorian Leigh and Evelyn Tripp), New York, 1949. © Irving Penn Foundation.

Below: Irving Penn, Hell’s Angels, San Francisco, 1967. © Irving Penn Foundation.

Bottom: Irving Penn, Marchande de Ballons (B), Paris, 1950. © Condé Nast All images: courtesy of Corkin Gallery (Toronto, Canada).

Focusing on three distinct bodies of work, Small Trades, 1960s San Francisco, and Fashion, the exhibition explored the intersecting roles of style and identity.

For Penn, who worked as a photographer at Vogue for more than sixty years, the significance of fashion extended beyond haute couture; it was a nuanced form of self-expression and a signifier of status, character, and the human condition.

Throughout his career, this conviction drew Penn to photograph people from all walks of life, lending the same compassion and meticulous attention to detail to tradespeople, folk singers, fashion models, and societal luminaries.

Penn’s photographs, frequently made in a cool, northern light against a neutral backdrop, capture subjects in what he described as a serene, true, and fairly restful moment, allowing him to distill and honor their individual and essential qualities.

Although he was celebrated as one of Vogue magazine's top photographers for more than sixty years, Penn was an intensely private man who avoided the limelight and pursued his work with quiet and relentless dedication.

At a time when photography was primarily understood as a means of communication, he approached it with an artist's eye and expanded the creative potential of the medium, both in his professional and personal work.

Particularly after his wife Lisa Fonssagrives death in 1992, he sought solace in his work and in the structure of his studio schedule, and he would paint most nights after work and on weekends.

In 2009, Penn died in New York, at the age of 92. During his lifetime, he established The Irving Penn Foundation, which grew out of the studio and whose devotion to Penn's legacy is derived from contact with his remarkable spirit.

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Irving Penn, Cocoa-Colored Balenciaga Dress (Lisa Fonssagrives-Penn), Paris, 1950. © Condé Nast.

Right: Irving Penn, Chanel Embroidered Dress, New York, 1998. © Irving Penn Foundation. All images: courtesy of Corkin Gallery (Toronto, Canada). The Penn exhibition at Corkin’s runs until January 29, 2022 .

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corasting uny

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The guesthouse is a contemporary, 2-story, cantilevered glass, steel and stucco box constructed on the property of the main house in in Beverly Hills.

The main house is a traditional home designed by Landry Design Group 20 years ago and juxtaposed with it. CanadianAmerican architect Richard Landry, founder of Los Angeles-based Landry Design Group, is known for designing large and spectacular estates for elite clients.

He recently designed estates in Los Angeles, Miami and Dubai and a newly completed palatial estate in Asia. He applied his vision on luxury on this relatively small, 2,000square-foot jewel box structure where a sculpture literally reaches skyward through the roof. The custom sculpture was made by Brad Howe. It rests on a stone fountain that cascades into the basin below.

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Previous pages; the traditional Beverly Hills main house and in the background the new guesthouse. Both were designed by Richard Lanary, with a time difference of 20 years.

Although modern in design the new guest house forms a surprising unity with the existing mansion.

These pages: luxury on this relatively small, the 2,000-square-foot jewel box guest house where a sculpture literally reaches skyward through the roof. The statue was custom created by Brad Howe. photos: Manolo Langis.

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These pages: the interiors of the guesthouse designed by Frank Pennino.

He also designed the overlapping glass-top cocktail table on a base of lacquered wood. The rug is by Rugs by Rugs. The colorful sculpture near the window and next to the kitchen is by John Chamberlain. The mobile in the kitchen is by Brad Howe, the painting hanging on the wall in the kitchen is by Fernand Léger and the small sculpture on the countertop below the wall shelves is by Alberto Giacometti. The cast aluminum screens were designed by Landry and fabricated by Neal Feay. The banquette is a design by interior designer Frank Pennino and the dining table is by Artifact. In the bedroom a large painting by Frank Stella and a small painting by Wassily Kandinsky. The small sculpture on the nightstand is

by Robert Graham. The rug is by Rugs by Rugs, Inc. Top right: the Canadian-American architect Richard Landry.

A cantilevered theme and seamless integration between indoors and out resulted in a powerful relationship between the building and its site: a duality of earth and sky, heavy and light, traditional and contemporary.

“We approach every project with the desire to “wow” our clients and create something special, and that can happen at any scale,” explained Landry. “For both small and large projects you need to understand what program is appropriate, but the research and development process of the design remains similar.”

“The major difference is not in the approach to the design process, but allocating team resources, as larger projects are understandably more labor-intensive.”

“Designing proper usable spaces with a natural flow is crucial to a successful design, so we spend a lot of time figuring out what our clients’ needs are and programming the spaces to work for them,” according to Landry.

In this case the clients wanted a guest house for friends and family that would itself be a piece of art. The upper volume is a multipurpose great room, which functions as a screening room, a meeting room for a group of 12, and a living room with a panoramic view. The interiors spaces were designed by Frank Pennino.

These pages: the transparent Beverly Hills guest house in full glory with the custom created sculpture by Brad Howe reaching skyward through the roof.

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OCEAN DRIVE

MIAMI BEACH

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Ocean Drive, Miami Beach is one of the worlds dream locations. Here, the refurbishment of a 6,112-squarefoot single floor condominium Ocean Drive, Miami Beach is one of the worlds dream locations. Here, the refurbishment of a 6,112-square-foot single floor condominium designed by mwworks. The apartment is part of a new residential tower overlooking the Atlantic Ocean.

The owners are based in Seattle and but have deep roots in the panhandle and had been looking to return home. To accommodate a family of six, this down to the slab renovation combined two smaller units to create a five bedroom retreat on the beach.

The first conversations between owners and architects/interior designers of mwworks, focused on the ever changing views from the space and the almost tactile quality of light at this latitude.

The design grew out of a desire to amplify these phenomena and let the interior architecture be a canvas and a frame.

A simple diagram was developed with a solid, shadowy service core surrounded by light elemental volumes. The heart of the unit was clad in dark tropical hardwood with detailing emphasizing mass and craft. A dropped ceiling to accommodate services supplied from the core, is expressed as a heavy wood raft creating subtle compression when moving between public spaces. Walls are clad with solid wood slabs with wide plank floors to match.

At the perimeter, elemental bedroom volumes were treated in pale, sandy tones of hand troweled plaster reflecting natural light deep into the spaces.

Doors were created as heavy slabs with integrated, simplified hardware allowing for trimless jambs.

Switches constructed within the plaster walls further reduce visual clutter. The irregular surface of the plaster highlights the changing quality of light throughout the day and lends a softness to private spaces.

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Project team Architecture and Interior: mwworks General Contractor: Dowbuilt Local Contractor: Woolems Inc Engineer (MEP): Shamrock Engineering Engineer (Low Volt): Visual Acoustics Engineer (Structural): PCS Structural Solutions Lighting: Niteo Furnishings: Studio DIAA; Matt Anthony Designs Photos: Kevin Scott

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Previous pages The interior design of the Miami Beach apartment was based on the ever changing views and the tactile quality of light. The designers wanted to amplify these phenomena and let the interior architecture be a canvas and a frame. The heart of the unit is clad in dark tropical hardwood with careful detailing emphasizing mass and craft.

These pages: Harmony for the senses: sheer curtains catch onshore breezes and bright textiles and patterned floor coverings add a layer of softness to the interior spaces. The shades of blue, orange and red respond to the native flora and fauna of southern Florida.

Directly opposite the elevator landing a small alcove was created to mark the entry. The ‘moyo’ wall was intended to reference vernacular masonry ventilation blocks washed with natural light from a perceived adjacent court. Overnight, the small powder room integrated into the alcove is illuminated with soft moonlight.

The gathering spaces at the east and west ends of the unit, large format concrete slab floor tiles reflect light onto plaster ceilings above and provide a cool surface underfoot.

A hierarchy of assemblies is established as the structural concrete deck slips over the glass window wall before stepping down as a plaster ceiling.

Concrete columns remain unfinished, providing another piece of context to the nature of the intervention and layers of the larger building assembly.

Sheer curtains catch onshore breezes and bright textiles, woven baskets and patterned floor coverings add a layer of softness.

Amongst the neutral canvas varied shades of blue, orange and red respond to the native flora and fauna of southern Florida.

At home hosting guests or children’s sandy feet, this home references the tones, textures and tropical climate of its site while its craft and detailing suggests a permanence not typical of South Beach.

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These pages: a Zen like tranquility in the kitchen overlooking the Atlantic Ocean: an oasis in turbulent Miami Beach.

Riva Dile

Having touched the water for the first time on Lake Iseo in Spring 2021, it made its official debut at the 2021 Cannes Yachting Festival: the Riva 68’ Diable. The yacht is the brainchild of Mauro Micheli, founder with Sergio Beretta of Officina Italiana Design, the firm that has designed all Riva’s yachts for the last 27 years, working in partnership with the Product Strategy Committee led by Mr. Piero Ferrari and the Ferretti Group Engineering Department. According to its creators, the Riva 68’ Diable represents an innovating layering of ingenuity, styles and techniques.

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The exterior styling reflects the new design direction charted by Officina Italiana Design, defining trending lines that express a sportier interpretation of the idea of luxury.

The stand-out new feature of this open is the carbon fiber and composite hard top integrated into the windshield.

The windshield made with spherical crystals features a slight counter-curvature that has become a typical Riva hallmark. Functional design elements in mahogany and polished stainless steel, paying tribute to the tradition of one of the world’s most famous shipyards.

In the stern, the swim platform is integrated into the hull sides, forming a single seamless whole that rises into the cockpit.

The garage can contain a Williams SportJet 345 tender and a Seabob.

The layout of the lower deck is designed for comfort, with three cabins accommodating six guests arranged around an open space containing a galley and a dinette for versatility and convenience.

The master cabin is amidships, the twin cabin with single beds to port, and the VIP forward, all with their own bathroom.

The starboard bathroom is also used as a day

head and the under stairs area can be fitted out as a small laundry.

The materials used for the interiors of the 68’ Diable are chocolate-colored Wengé wood on the first unit, paired with mirrored and satin-finish surfaces, both matt and gloss-effect steel and lacquer, and leather in shades of blue, white, and light and dark grey.

Above: the central area under the hard top of the Riva 68’ Diable, contains two facing Lshaped sofas, with the one on the left acting as a dining area accommodating up to six people.

Below: the lower deck has three cabins accommodating six guests arranged around an open space containing a galley and a dinette.

The master cabin is amidships, the twin cabin with single beds to port, and the VIP forward, all with their own bathroom.

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Below: the lay out of the decks of the 68’ Diable. The featured yacht is fitted with a pair of MAN V12 V-drive engines rated 1,650 mhp each. With this configuration, the yacht has a top speed of 40 knots and a cruising speed of 34 knots (preliminary data). The standard option is two 1,550 mhp MAN V12 engines, reaching a top speed of 37 knots and a cruising speed of 33 knots (preliminary data).

Right: the hard top yacht has an unusual line that also melds with the windshield to create a single unit with a reverse-angle forward, a distinctive styling cue adopted by Officina Italiana Design in its Riva models in recent years. An element that is not only aesthetically attractive but also functional as the superstructure it creates protects the cockpit area, providing guests with shelter from sun and spray underway.

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Previous page The presentation of Objet de Curiosité, the French company founded by Lilau and PierreEmmanuel Grange-Jaricot. Their curiosities are members of their tribe, they live with day and night. At the Maison&Objet editions, their participation always stands out.

These pages Below: ‘When the Garden comes to the Museum’. On the occasion of Paris Design Week, the Cognacq-Jay museum in Paris invited the artist and designer William Amor for a dialogue with their collections. Amor specializes in the valorization of abandoned materials. He transforms plastic pollution into exceptional pieces and floral works filled with poetry. Field flowers, rose petals or a bouquet of poppies: his creations give a second life to neglected materials.

Right: Sieger by Ichendorf, an Italian design glassware company. Designers and masterglassmakers’ strict collaboration expresses the company's care for details.

Photos Maison & Objet: Hans Fonk Original photos PDW: Greg Sevaz.

After the hibernation, due to the pandemic, each self declared design city in the world has slowly come to life in fall 2021 with special editions of their design spectacles. That also applied to the city of Paris where the decoration festivals Maison&Objet and Paris Design Week took place.

It was a new welcome to the decoration, design and lifestyle community, with a rich melting pot of experiences, expertise and business.

Maison&Objet detected shifts and explored the trends giving its visitors an understanding of the trends and an inspiration for their works. And because design can’t happen without designers, and surprises without talent, the fair has, in their own words, a flair for unearthing both raw and polished nuggets of talent, showcasing the men and women behind the most exciting concepts and products on the market today.

At the same time, a wave of creativity rippled across Paris for a full 10 days, seeing an excitingly inspiring design-led trail of exhibitions and events connect the design-hungry people with industry professionals.

OBJEKT International went around the city of love and light and distilled its own version of Paris’ decoration à la carte.

These pages: the Craft section of Maison& Objet is one of the most interesting of the event. Here works by Valerie Casado, tableware ceramicist. She creates a world of plants and porcelain where each unique work reveals transparency and lightness. (left-hand page) Right: giraffe sculptures by Sara Wevill.

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Below: vases by 101 Copenhagen.Their creative drive is focused on a fusion of the Scandinavian tradition influenced design and the timeless Japanese approach to material and techniques.

Beside that: Loupania by céramiste Lovo Muriel.

Right-hand page Above: more than 30 designers, landscapers and creatives were engaged for the Frugal exhibition at the Hôtel de Coulanges.They decided not to produce any more disposable or immortal materials, or materials devoid of environmental and social meaning. Among the participants Pauline Esparon, Gwilen, Anna Saint Pierre, Samy Rio, Lucile Viaud, Hors Studio, and Atelier NDF. Below: Maison Sarah Lavoine, founded by Sarah Poniatowski, explores space, form and light to conceive each piece as an architectural creation.

High standards of craftsmanship and materials, balance, boldness and aestheticism are the basics of all creations.

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Right:The Pinton manufactory, in Felletin, France, is nestles in a large tree-filled garden reminiscent of the famous greeneries; the floral tapestries woven in the Aubusson area since the XVIth century. For generations, the Pinton family have been working in trades related to Aubusson tapestry and rug-making.

Below: Maison Dada presented during Paris Design Week new editions featuring Kiki Van Eijk, Claudio Colucci, Najma Temsoury and Thomas Dariel who has imagined a scenography for Ellia Gallery.

All editions were created in line with the original spirit of Maison Dada: bold, artinspired and with a French elegance.

Top right: protecting the core values of yesterday while embracing those of tomorrow, never losing sight of the need to be demanding, benefiting from quality, a good image and selectivity: that has become a way of life for Forestier.

Bottom right: Popus editions, a company founded by Yannick Gicquel and Fanny Gicquel, passionate about architecture, design and decoration.

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Left: Pierre Gonalons had installed during Paris Design Week, his new rooms in the setting of the Orangery of the Hôtel de Sully, which was opened for the first time.

The designer and decorator created a contemporary living room connecting nature and culture.

The Hôtel de Sully is a Louis XIII style hôtel particulier, or private mansion, located at 62 rue Saint-Antoine in the Marais, IV arrondissement, Paris. Built at the beginning of the 17th century, it is nowadays the seat of the Centre des monuments nationaux, the French national organization responsible for national heritage sites. It has been listed since 1862 as a monument historique by the French Ministry of Culture. The Hôtel de Sully was built, with gardens and orangery, between 1624 and 1630, for the wealthy financier Mesme Gallet. The building is attributed to the architect Jean Androuet du Cerceau. The site was chosen to give access to the Place Royale - today the Place des Vosges.

Since 1967 it has been the home of the Caisse Nationale des Monuments Historiques et des Sites, which in 2000 became the Centre des Monuments Nationaux.

This page: Rive Gauche Paris, in the Chapel in the heart of the Gobelins enclosure, was the installation ‘In a Cloud of Pixels’ by Miguel Chevalier and A + A Cooren to discover. This project brought together the knowhow from several of the National Furniture workshops.

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Above: a site-site-specific installation at the 2021 Chicago Architecture Biennial: Central Park Theater by Manuel Herz (Basel, Switzerland), created in partnership with the Central Park Theater Restoration Committee. Original photo: Nathan Keay.

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The fourth edition of the Chicago Architecture Biennial (CAB) responded to an urban design framework that proposed connecting community residents, architects, and designers to develop and create spaces that reflect the needs of communities and neighborhoods. Curated by the Biennial’s 2021 Artistic Director, designer, researcher, and educator David Brown, The Available City presented projects and programs that ask and respond to the question of who gets to participate in the design of the city by exploring new perspectives and approaches to policies.

Over 80 contributors from more than 18 countries responded to this framework through site-specific architectural projects, exhibitions, and programs across eight neighborhoods in Chicago and in the digital sphere.

The Available City illuminated the potential for immediate new possibilities, highlights improvisational organizers of the city, and underscores the exponential impact of small elements in aggregate.

Artistic Director David Brown remarked, “Exploring the potential of The Available City has been a central focus for me for over a decade, and it was a fantastic opportunity to explore its ideas with global and local architects, designers, thinkers, and community leaders within the Biennial’s platform.

When the Biennial opened, our work was really just beginning: the Biennial is an open conversation on possibility, and I am excited to see what ideas, collaborations, and partnerships emerge from this forum.”

The Biennial commissioned 15 site-specific architectural projects installations on public and private lots located in Chicago’s neighborhoods of North Lawndale, Bronzeville, Woodlawn, Englewood, Pilsen, and the South Loop.

For many of these projects, Artistic Director David Brown engaged missiondriven community organizations or groups across the city, pairing them with an architect whose practice he believed was aligned with the organization’s intentions for a space, expanding upon the work these organizations were already doing to engage their community. In this production three of these site-specific projects are visualized.

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Right: ‘Cover the Grid by Outpost Office’ (Columbus, OH), organized in coordination with Westside Association for Community Action (WACA), Open Architecture Chicago, and Freedom House for the 2021 Chicago Architecture Biennial. Original photo: Dennis Fisher.

Below: Grids + Griots by sekou cooke Studio (Charlotte, NC), created, in partnership with YMEN, for the 2021 Chicago Architecture Biennial. Original photo: Nathan Keay.

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Savandurga H

Nestled in lush coconut and areca tree plantations with the mighty Savandurga Hill, one of the largest monolith hills in A s i a , f r a m i n g i t s b a c k d r o p, K s a r a a h i s a w e e k e n d r e t r e a t i n rural Bengaluru, India. It reimagines living in the embrace o f n a t u r e. T h e p r o p e r t y a i m s t o f o s t e r a d i r e c t c o n n e c t i o n w i t h t h e o u t d o o r s, s a n s b o u n d a r i e s, w h i l e s t i l l s h e l t e r i n g i t s i n h a b i t a n t s, a c r e a t i v e p r o f e s s i o n a l a n d h e r f a m i l y. T h e p r i n c i p a l a r c h i t e c t s w e r e S h a l i n i C h a n d r a s h e k a r a n d G. S. M a h a b o o b B a s h a o f Ta l i e s i n , l o c a t e d i n B a n g a l o r e w i t h t h e d e s i g n t e a m c o n s i s t i n g o f S i r i , Ya t h e e s h K u n e a n d V i s h n u N a i d u .

The architects’ primary design challenge was to create a built environment that would blend, harmonize and inspire, rather than shock and dominate.

The design intervention ensured minimum deviation from the existing landscape, while providing a space with limitless opportunities for the users to thrive in.

Ksaraah aims to address the needs of the local community. The design is focused on creating adaptable, multi-use spaces to bring people together and to foster activities and conversations.

The two-story primary residence is an interplay of volumes and voids. It is perched atop the site's highest level, framing views of the farms that lie on the horizon.

Resting weightlessly on a set of two arches, it creates expansive column- and wall-free spans with deep overhangs.

The ground floor hosts communal spaces like the living, the dining, and a sit-out area that are seamlessly entwined with nature; the master bedroom and its en-suite bathing chamber and a private study lounge occupy the first floor.

On the first floor, arched elements punctuate the space complementing the stark linearity of the structure.

Tall, louvered windows in oak wood traverse the floor’s perimeter, creating a permeable envelope that invites trees and plants into the

Previous pages At the heart of the Ksaraah property stands a eighty-footlong pavilion composed of rhythmic modules. The dynamic progression of columns refer to the surrounding plantations.

The Pavilion is designed as a dynamic arena of sorts.

These pages: The main house with the colonnade on the right. The stone wall creates a three-dimensional site partition. It marks the transition between the private and public part of the house. photos: Harshan Thomson

These pages The living quarters of the house with the ground floor hosting the communal spaces like the living, the dining, and a sit-out area.

The master bedroom and its en-suite bathing chamber and a private study lounge occupy the first floor.

On the first floor, arched elements punctuate the space to complement the stark linearity of the structure.

Louvered windows in oak wood traverse the floor’s perimeter, creating a permeable envelope that invites trees and plants into the indoors, while allowing the users to control ventilation and day light.

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indoors, while allowing the users to control ventilation and day ligh.

The spatial arrangement is specifically directed to traverse amidst the landscape, blurring the boundaries between the built and the un-built.

A sleek, exterior staircase connects the two levels next to a pool, the epicenter of the residential quarters with its backdrop marked by a feature stone wall.

The wall creates a three-dimensional site partition and marks the transition between the private and public functions of the house, while unifying the visual narrative.

The spatial arrangement is aimed to blur the boundaries between the built and the un-built.

A sleek, exterior staircase connects the two levels next to a pool, the epicenter of the residential quarters with its feature stone wall. The wall creates a three-dimensional site partition and marks the transition between the private and public functions of the house, while unifying the visual narrative. The pool without any filtered or added chemicals, doubles up as a storage tank for the vegetation around. The architects limited the alterations of the landscape within the site to ensure that the processes of shrishti (creation), stithi (sustenance) and samhara (dissolution) continue without any interruption. Materials were chosen to last long. Stones were sourced locally from nearby quarries.

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ERAMICS ON STEROID

The Italian city of Bologna and neighboring Sassuolo are declared epic centers in the world of architectural ceramic tiles.

The technical evolution of ceramics here goes hand in hand with creative breakthroughs.

What borders on a revolution can be seen each year during the Cersaie event in Bologna: the pre-eminent international exhibition for the world of ceramics and other surfaces , bathroom and wellness furniture, kitchens and outdoor spaces.

Above: the center of the Italian city of Bologna, together with neighboring Sassualo, an epic center in the world of architectural ceramics. photos: Hans Fonk

Cersaie has evolved in a couple of years from an affair for technical ceramic experts to a showcase of Italian creativity, with the backing of the Italian Ministry of Foreign Affairs and International C ooperation, the Italian Trade Agency ITA and the city of Bologna.

It has become a real candy store for interior designers and architects.

Proof of that was, amongst others, the new Contract and Archincont(r)act prsentations, a space devoted to networking between producers, architects and clients operating in the Real Estate and Contract sectors, including an area for start-ups.

During the Bologna event, the first exhibition ‘’G124 Renzo Piano: mending the suburbs, a journey through Italian citieswas inaugurated.’ The project is devoted to young architects .

The exhibition presented a selection of projects carried out since 2014, with a focus on the projects initiated in 2020 and now nearing completion in Parco XXII Aprile in Modena, Parco dei Salici in Padua and the Zen area of Palermo.

A permanent part of the show has becaome the ‘Lectio Magistralis’ , this year given by Pritzker Prize-winning architect Shigeru.

To further underline the innovative a spects, the agency 45 Gradi has designed a new logo for the showw. Also Cersaie Digital was introduced, a digital event the exploited the potential of information technology, the dematerialisation of information and the global reach of the internet to consolidate the role of Cersaie.

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Right: Sicis with patterns designed by Studio Marco Piva for external architecture and the collection of Gem Glass slabs.

Above: presentation by architect Massimo Iosa Ghini at the new architectural section of Cersaie with a Natuzzi sofa and Digital Jungle wallpaper from Tecnografica both designed by the architect.

Below: floral scenes were found everywhere at the Cersaie 2021 event. Here at the presentation by Gruppo Romani and beside that Versace Ceramics.

Right-hand page: high tech ceramic tiles by Apavisa Porcelanico.

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Left: Quilt by Mosaico +, designed by Studio Irvine.

This page Above left: Panerai with 3,5 mm Pan blad rust and petrol naturale. Right: floral ceramics by Cenrdomus.

Below: Laminam’s Verde Alpi and Sahara Noir Extra surfaces, inspired by the timeless elegance of marble.

Sustainability first at the ‘What’s in the Box’ presentation of the architects of Lombardini22.

It should revoke a feeling of intimacy and physical and emotional closeness. The presentation was part of the new architectural section of Cersaie with ten leading architectural firms: Archea Associati from Florence,Archilinea from Sassuolo, Caberlon Caroppi Architetti Associati from Milan, Iosa Ghini Associati from Bologna Lombardini22 from Milan, NOA* Network of Architecture from Bolzano and Berlin, One Works from Milan, Pininfarina Architecture from Turin, Studio Bizzarro e Partners from Ravenna and THDP from London.

Right-hand page Top left: ceramic scenes by Maison d’Arte and beside that Casalgrande Padana. Center left: Mainzu and floral patterns by Elios Ceramica.

Bottom left: the unpredictable and composite shapes, colors and materials by Cipì, “leaving the conformism, the banal, without the fear of" swimming against the current”. Right: ceramic reflections by Infinity.

This page: part of the presentation by Ceramiche Supergres Right: Pininfarina Architecture unveiled the site-specific installation ‘the Cave’ within Archincont(r)act presentation.

It referred to a natural refuge overlooking a green space reproduced by wallpapers designed with Inkiostro Bianco and inspired by ‘Boscherecce’, eighteenth-century frescoes, which are unique in historical buildings in the city of Bologna. The wood flooring is designed by Pininfarina for Corà. The integrated geometrical patterns are by Laminam.

The ceiling ropes recall stalactites. The selection of furniture was made in collaboration with True Design.

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THE BALL Design Museum Holon in Israel, celebrated in 2021 its most ambitious fashion exhibition ‘the Ball’. Taking an innovative approach from Design Museum Holon’s previous fashion exhibitions, ‘The Ball’ was a multi-sensory experience that combined fashion, sound, music, scenery, and lighting to showcase how dresses from the past resonate in today’s eveningwear design. The exhibition offered a dreamy experience full of fantasy, forging connections between the history of balls, Western fashion, and the current creations of Israel’s leading designers.

Previous pages Bulletproof by designer Lia Fattal.

Photo: Omri Rosengart These pages Below: Stays (boned bodice) with removable wooden busk by designer Moni Mednik, mannequin sculpting by Victor Vivi Bellaish and headpiece design by Ruth Philosoph.

Photo: Michal Chelbin.

Beside that: impressions of the exhibition. Photo: Elad Sarig.

Center top: exterior of the Design Museum Holon designed by Ron Arad, and inaugurated in March 2010. Photo:Yael Pincus

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Maya Dvash, Chief Curator of Design Museum Holon on the process of devising this exhibition theme: “When developing this theme, we wanted to go beyond the traditional fashion exhibition presentation and form a new language that allow the visitors to feel as if they are both spectators and participants. The immersive world we created in this exhibition engages visitors in such a way that they cannot remain indifferent. Throughout this rounded experience the exhibition raises questions concerning Israeli fashion, culture and society and the dialog they maintain with lavish ball dresses originating from Europe.”

‘The Ball’ looked at past and present-day fashion, exploring the complexities woven into the longing for opulence and escapism. Throughout history, while balls were often reserved for the elite, fairytales provided a gateway into a world of imagination, overcoming social divides and barriers. Through a creative dialogue between the fantastic and the real, the exhibition invited visitors to explore the role of fashion and escapism in everyday life.

“Currently, Israel is home to hundreds of bridal and evening-wear designers who garner international success, and no less than one-quarter of the designers participating in the New York Bridal Fashion Week are Israeli. While Israeli style is synonymous with simple, comfortable, everyday clothes, the local fashion industry has embraced ball gowns as one of its primary products.

The impressive reach of Israel’s evening-wear industry reflects a local sensibility centered on love, and perhaps also a deep and powerful need for celebrations and parties, as an escape from everyday life, placing significant importance on celebrating the moment,” said fashion historian and curator Ya'ara Keydar, the exhibition’s curator.

Keydar continued: ‘The exhibition ‘The Ball’ is dedicated to fashion’s ability to transport us into a magical world in which anything is possible, if only for one night. Dreams are accessible to us all, together with the hope for a happy ending.’

The exhibition displayed approximately 120 ball gowns representing both historical and contemporary designs, which feature luxurious materials alongside surprisingly recognizable ones. In addition to the gowns, the exhibition showcases approximately 50 accessories created especially for the exhibition by Israel’s leading designers, including a display of glass Cinderella slippers printed in 3D, and a collection of hats inspired by desserts.

These pages Impressions of the exhibition ‘The Ball’ curated by fashion historian Ya'ara Keydar. at the Holon Design Museum, Israel. Photo: Elad Sarig.

Beside that: Insanity Anxiety by designer: Shahar Avnet. Photo: Michal Chelbin.

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