Louis ghost chair
axor starck organic
'In our very first discussions about this new project, it was already clear to us, that we were aiming for a new way to use water in a responsible way', recalls philippe grohe. Starck adds: 'This collection is yet another revolution, a new cocktail of highest technology and good philosophy.'
Fourty products related to all elements of the bathroom including four faucet heights and a wall mounted solution as well as exposed or concealed-mounted shower and bathtub fixtures which use thermostatic energy. A range of accessories also compliment the collection.
The spray introduces a new sensation within conventional water basins. Gentle drops of water are released from 90 individual outlets creating an efficient spread on a large surface area. Merging comfort with responsible water use encourages a new and positive norm and rates can be boosted to 5 liters per minute as necessary. The highly reflective exterior finish always mirrors a perfect image.
'Axor starck organic', a bathroom collection which is the result of a collaborative venture between luxury bathroom line axor of berlin-based hansgrohe and philippe starck. Taking lines from nature, the minimalist design prioritizes sustainable water practices with low flow rates of 3.5 liters per minute. two ergonomic and intuitive handles are sustainably manufactured for added economy. Separated to remain at preferred settings, a control positioned at the top of the mixer regulates temperature while the on/off switch is located at the end of the spout. the separating of the actions from 'normal' to 'eco' allows for users to decide if temperature or volume needs to be changed with each action.
taschen shop LONDON
Taschen specialises in books on design, fashion, travel and pop culture.
The Beverly Hills shop is based around the design concept of a ‘Sistine Chapel’, and features plasma TV screens, purple mirrors, handmade glass walls and a lounge area with a black leather banquette. It also features 20 computer-generated collages created by the artist Albert Oehlen. The images are based on the wide selection of Taschen books that adorn the walls and ceiling. The design of the Taschen book store in Paris which opened in 2001- is more akin to a boutique retail interior environment.
The spokeswoman claims that this is the only store Taschen plans to launch in the UK, despite an original consideration to open two book shops. The design details are yet to be discussed, but the spokeswoman confirms that the interior will follow a similar look to its other Starck-designed stores, which often feature extravagant and quirky designs.
Starck has a long-standing working relationship with Taschen, having designed the German publisher’s stores in Paris and Beverly Hills. He is also creating Taschen’s first store in New York City, due to open in February 2007.
The store is located at 48 Neal Street and will initially open for trading this month under a temporary design created by Taschen’s in-house design team, says a spokeswoman for the company. The shop will then close early next year for a total refurbishment and redesign by the French celebrity designer.
“Superyachts are part of our business now. We work with people we love, people who share our values. When people ask us to do a project, and we are not on the same page, we won’t do it. But when people come along, like the owner of Virtuelle, the owner of A, the owner of Wedge and now the owner of Venus, it is fantastic. We helped realize their dreams...”
Looking at the future, Starck hesitates. “We now have other projects, with again other goals. But you know, everything is always a secret, and unfortunately I cannot speak about these new projects, but we are working very hard on another amazing project, which is almost finished. She will be the most astonishing boat in the history of sailing yachts. And we have others also…. “
Getting back to Venus, Starck explains: “And now there is Venus. Another revolution, not in the same way, but then again, it was not built for the same goal. Venus was about the elegance of minimum.”
Then came A,the 119 metre Blohm & Voss. “Ah A, yes that was a real revolution. Today we can see many projects that are like children of A. A was all about being in harmony with nature. Harmony with the waves. About organic design. That, and a very good hull, that makes no waves, even at high speed. Only last week I was on board, and I can tell you it is an astonishing boat. And the owner is very very happy”.
“After that we started working on Wedge Too. That was not the same thing, as we took the project on when it was already underway at the shipyard. We had to work with what was already there. Our goal for that project, was to create a yacht that was not vulgar, it just had to be elegant. That was all”.
Venus is by no means the designer’s first superyacht; “You know, in my company we are very precise, and always try to bring on a revolution. In our first yacht, Virtuelle, we worked with an owner who fell in love with his yacht, a most elegant sailing boat. That yacht was a revolution. It had almost nothing in terms of details”.
Although we might never get to see the inside of the yacht, Starck describes what many of us already expected: “Inside, we used loose furniture, but left it very open. The owners have to live their own life, so it was mostly done by them. It is the minimum of everything. There is not a single useless item inside…. Not a single useless pillow, or a useless object. In that sense, It is the opposite of other boats. Other boats try to show off more and more. Venus is revolutionary. It is the extreme opposite.”
designer and Jobs had an exceptional eye for design and details. When I ask Starck about the effect this had on the shipyard, he smiles; “I am sure we made it very difficult for Feadship. We reinvented ways to think, as well as the way to do things. But Feadship executed our ideas so very well. The quality of the boat is astonishing”.
When we look at the final outcome, it is clear both
“Venus is exceptional “ Starck continues, “In the design, there is no reason for aesthetics, no reason for ego, nor for trends. We designed it by philosophy. And we stuck to that absolutely. As I said, the yacht’s design was finished in our first meeting. Then we did the details. We always wanted less and less, which was fabulous. With the design done, it was all about refining it. Re-polishing it. We came back on the same details until they were perfect. We had many calls about parameters, the result is the perfect application of our joined philosophy”.
Starck explains the concept was based on the philosophy of keeping the design to a minimum; “The key word between the owner and me was honesty. There was no room for lies, or for fakes. The result was what we say in France: Dans les règles de l’Art”. Which roughly translates into: with respect to rules to perform a job or task in an methodical way.
When asked about the design process, Starck explains “We spent just one day every six weeks, for 5 years, on refinements. Millimetre by millimetre. Detail by Detail”.
“From the beginning, I had complete carte blanche”, Starck starts out “The owner just gave me the length and the number of guests he wanted to accommodate, and that was it. In our very first meeting we had little time to speak, so I told him, I will design it, as if it is for myself. The owner replied that that would be perfect for him. This is how we were able to design the project so fast, in just two weeks we delivered the plans, and a ship model”. "The owner was very rigorous, but he rewarded me with the best gift someone can give a designer; he told me “it is better than in all my dreams”… Which for him was a lot! " Looking back, Starck continues “We never retouched the project which means that from 2007, to the launch, it is basically still the same”.
Published on May 14, 2013
A visualisation of a booklet made of modules 20 x 20 cm prepared to be bend one after another. This is the second part about designs of Phil...