Installation by Barkow Leibinger Architects at the Marrakech Biennale

The Fakir Bari House, located in Kachina village within Bangladesh's Bhaluka district of Mymensingh, is a residential project completed in 2023 by Design Works Studio. The architectural design prioritizes a harmonious integration of family heritage, local culture, and natural surroundings, reflecting the client's desire for simplicity, minimal landscaping, and a pleasant living environment. A core principle guiding the project was the avoidance of tree removal; instead, additional trees were planted to enhance the site's ecological and aesthetic value. This approach contributes to a sustainable design philosophy by promoting biodiversity and green spaces within the residential setting. The house covers an area of 156 square meters, making it a moderately sized family dwelling. Key materials used in its construction include concrete and brick, chosen for their durability, local availability, and aesthetic qualities. The project involved a collaborative design team, including Shawon Biswas, Farhatul Jannat, and Tusher Ahmed Noor, with Rokonuzzaman as the lead architect. Technical support was provided by Soyeb Mohammad Shourav and Abid Hasan. This collaborative effort ensured a comprehensive approach to the design and construction, aligning with the client's vision and the project's environmental goals. Manufacturers such as Akij Ceramics, Berger Paints, KSRM, Shah Cement, Swish, and Tradexcel Ceramics supplied the materials, indicating a reliance on both local and regional suppliers to achieve the desired finishes and structural integrity. The design of Fakir Bari House reflects a commitment to creating a comfortable and aesthetically pleasing home that respects its context. The integration of natural elements, such as the deliberate planting of trees, aims to mitigate environmental impact and foster a connection between the inhabitants and their immediate landscape. The emphasis on 'minimal greenery' in the client's brief suggests a preference for a controlled yet natural outdoor space, possibly reflecting an urban or semi-urban context where dense vegetation might be impractical or undesirable. The use of concrete and brick, common in Bangladeshi construction, provides a robust and cost-effective structural framework while also allowing for various architectural expressions. The choice of these materials could also contribute to thermal comfort, a significant consideration in Bangladesh's climate. The project stands as an example of contemporary residential architecture in Bangladesh, balancing traditional values with modern design principles. The architects aimed to create a space that not only accommodates the functional needs of the family but also serves as a sanctuary that is deeply rooted in its location's identity. The inclusion of a project gallery with various photographs, including exterior views, interior shots of bedrooms and windows, and detailed facade images, demonstrates the comprehensive documentation of the completed structure. These visuals highlight the interplay of light and shadow, the texture of the materials, and the overall ambiance of the house. Plans, roof plans, and sections are also provided, offering insights into the spatial organization and structural details of the Fakir Bari House. The project's publication on ArchDaily, a prominent architecture platform, suggests its recognition within the architectural community for its design merits and contextual relevance. The overall design ethos of Fakir Bari House can be characterized by its thoughtful consideration of tradition, nature, and the specific needs of its inhabitants, resulting in a residence that is both functional and culturally sensitive. #ResidentialArchitecture #Houses #Bangladesh #DesignWorksStudio #ConcreteConstruction #BrickArchitecture #SustainableDesign #CulturalHeritage #ArchitecturalPhotography

A new exhibition titled 'Exhibition in Rennes: Ronan & Erwan Bouroullec' showcases the extensive work of French design duo Ronan and Erwan Bouroullec in their home region of Brittany for the first time. The exhibition is split across three venues: Les Champs Libres, the Frac Bretange contemporary art museum, and Le parlement de Bretagne, and is conceptually divided into two main parts. The first part is a 20-year retrospective focusing on the brothers' industrial design projects. This segment features collaborations with prominent design manufacturers such as Alessi, Magis, Kvadrat, Vitra, Artek, and Samsung. Notable inclusions are their furniture and domestic items, alongside an array of archival materials. These materials provide insight into their design process, including development notebooks and scale models, offering a comprehensive look at their evolution in industrial design. One such collaboration highlighted is the 'Serif' TV with Samsung, which received the Wallpaper* award for 'Best Domestic Design'. The second part of the exhibition, titled 'Urban Reveries' and installed at Les Champs Libres, delves into the duo's foray into municipal landscape design. This section presents a collection of dioramic architectural models that envision new public spaces. These models depict unique urban patterns, including rocky outcrops, elevated sculptural streams, and meticulously designed gardens, reflecting what the studio describes as 'a wandering or urban dreaming based on a reflection of the city layout'. The exhibit aims to explore innovative approaches to public urban environments. Further installations include 'Le Kiosque' from 2015, positioned in the parliament courtyard. This modular structure, constructed from powder-coated steel with an oak interior and an overhanging roof, first appeared in Paris' Tuileries. Conceived as a movable tool to integrate art into public spaces, in Rennes, it is paired with 'Palissade', a collection of outdoor furniture developed in collaboration with Hay. The exhibition also features '17 Screens', an abstract display that explores the convergence of 3D printing with traditional production methods. Previously exhibited at the Tel Aviv Museum of Art, this installation showcases futuristic constructions utilizing diverse materials such as glass, ceramic, wood, and aluminium rods. It also incorporates curtains made from cup-like mouldings by ceramics innovator Mutina and patterned textiles. This segment is characterized as an experimental and atmospheric exploration, blurring the lines between design and art. Overall, the exhibition is presented as a carefully curated blend of their established works and new, more experimental directions. It offers an opportunity to re-evaluate the Bouroullecs' classic designs while also providing glimpses into their evolving artistic and design philosophies. The show aims to offer visitors a comprehensive understanding of the duo's influential and multifaceted practice. #BouroullecBrothers #DesignExhibition #IndustrialDesign #UrbanPlanning #ContemporaryArt #FurnitureDesign #ArchitecturalModels #PublicSpaceDesign #3DPrinting #RennesExhibition

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

Nomad, the collectable design fair, holds its second edition at La Vigie, Karl Lagerfeld's former villa in Monte Carlo. The event, conceived by Giorgio Pace and Nicolas Bellavance-Lecompte, showcases innovative designs from 17 international galleries and special projects by artists such as LizWorks and Mathieu Lehanneur. This year's fair highlights a range of new works, emphasizing playful experimentation, meticulous craftsmanship, and the integration of diverse materials. Among the featured designs, Carwan Gallery presents five ceramic pieces by Swiss-Chilean designer Anton Alvarez. These tubular forms, first seen at Salone del Mobile, are characterized by a striking cobalt blue hue and a unique extruded appearance, reminiscent of Play-Doh. Sarah Myerscough Gallery showcases the work of Danish furniture makers Lasse Kristensen and Mette Bentzen, known as Egeværk. Their 'Void' table, crafted from a single Danish Ash tree, achieves a smooth, horn-like shape through a process of meticulously stripping each wood layer. New York's Friedman Benda gallery participates for the first time, exhibiting 15 eclectic works by Misha Khan. Khan's pieces feature exaggerated forms created using various materials, including marble powder, resin, and wood. Notable items include stools positioned around a fireplace and a large stainless steel and glass table titled 'Back Bend Starfish Puts on all Her Jewels for Her Workout.' Sabine Marcelis, based in Rotterdam, introduces an ice-blue iteration of her resin Soap table for Nomad Monaco, presented by Copenhagen's Etage Projects. This follows an off-white version released earlier at Nomad St. Moritz. The table's minimalist and matte form, which highlights Marcelis's expertise with resin, complements more opulent designs by Fredrik Paulsen and FOS also on display. David Gill Gallery presents the official launch of Mattia Bonetti's 'Tiger' cabinet. This piece combines mahogany, brass, and leather, creating a decadent mix of warm materials. The cabinet's wild, animalistic patterns are juxtaposed with its sophisticated shape, designed to stand out against the Monte Carlo landscape. Finally, Beirut-based design duo David and Nicolas for Nilufar Gallery unveil an updated version of their Chaise Maurice. Originally designed to revive a classic Lebanese chair, the vintage model now features Red Cavallino upholstery and an ottoman footrest, enhancing its luxurious appeal. The fair takes place from April 26-29 at Villa La Vigie, a location known for its prominent design history, having also hosted Nomad's inaugural edition. The event offers a comprehensive look at contemporary collectible design in a historic and picturesque setting. #NomadFair #CollectableDesign #Monaco #KarlLagerfeldVilla #DesignExhibition #ContemporaryDesign #FurnitureDesign #CeramicArt #WoodCraft #ResinArt

During Milan Design Week, Kvadrat's exhibition, in collaboration with Raf Simons, captivated attendees with its unique presentation at Garage Ventuno. The project marked the sixth iteration of the Kvadrat and Raf Simons partnership, showcasing four new textile designs within an extraordinary setting that merged mid-century architecture with contemporary design sensibilities. The exhibition, titled 'No Man's Land,' transformed the industrial space into a distinct, vaguely dystopian neighborhood envisioned by Simons. Simons' installation, 'Raf Simons Suburban,' featured a series of prefab wood and steel structures originally designed by mid-century architect Jean Prouvé. These cabins were arranged to evoke a suburban environment, but with a conceptual and artistic twist. Instead of traditional grass, shredded textiles were scattered across the ground outside the cabins. Le Corbusier Lampe Diabolo lights served as street lamps, contributing to the distinct atmosphere. Fences were creatively constructed from textiles, specifically Novus 1 and Novus 2, both part of the new collection. A monumental front garden, designed by longtime collaborator Mark Colle, boasted a luscious bed of wildflowers, sprawling towards the entrance and further defining this imaginative suburban landscape under Simons' direction. Inside the three Prouvé buildings, visitors found different functional areas. One cabin housed a seating area furnished with Rietveld Utrecht chairs by Cassina, providing a space for guests to relax and engage with the exhibition. Another structure was designated as a 'home,' offering an intimate look into the potential applications of the textiles. The third building functioned as a 'workshop,' where Kvadrat meticulously narrated the production process behind their sophisticated textiles, offering insight into the craftsmanship and innovation involved in their creation. The new collection itself comprised four upholstery fabrics: Atom, Phlox, Novus 1, and Novus 2. These fabrics were deeply influenced by Simons' diverse interests, spanning fashion, art, music, design, and architecture. The materials incorporated heavy structures such as corduroy and jacquard-woven bouclé, utilizing a blend of wool, cotton, linen, and viscose. Simons explained his design philosophy, noting his interest in qualities originating from fashion, like bouclé, tweed, and corduroy, and how their inherent density for furniture use makes them even more compelling for long-lasting applications. Adding another layer to the experience, London's Rochelle Canteen operated a cafe within the neighborhood, serving classic dishes from its beloved menu, including radishes and cod’s roe, braised squid, and roast quail. The cafe provided a serene counterpoint to the somewhat eerie installation, with bistro-style tables adorned with fresh flowers and natural light from the factory's skylight. This thoughtful integration of culinary experience and artistic installation made 'No Man's Land' a memorable and engaging destination during the bustling Milan Design Week, encouraging visitors to linger and immerse themselves in the unique environment. #MilanDesignWeek #Kvadrat #RafSimons #TextileDesign #InstallationArt #MidCenturyArchitecture #JeanProuve #LeCorbusier #InteriorDesign #DesignExhibition

Interior designer Dina Sebti undertook the redecoration of a 1960s Casablanca home, originally reimagined by architect Jacqueline Alluchon, who founded Casamémoire to preserve Casablanca’s architectural heritage. Sebti's primary challenge was to modernize the 1,500-square-meter property while respecting its historical integrity. Upon her initial visit, Sebti noted the house's serene, cocoon-like atmosphere, enhanced by birdsong from the garden and a spacious layout. A significant feature that captivated her was the extensive art collection, which provided a strong visual and emotional identity to the space. The homeowner is a notable art collector, and the brief emphasized creating an environment that could stylishly and sensitively showcase their collection. This collection includes significant works by Moroccan masters such as Mohamed Melehi, Chaïbia Talal, Mahi Binebine, and Hassan El Glaoui, alongside pieces by European artists like Picasso, Miró, and Buffet. A key issue identified was the lack of natural light on the ground floor and the need to update some finishes. Sebti aimed to introduce clarity and modernity without compromising the home's authentic character, fulfilling the client's desire for a comfortable, accessible, and bright living space. Sebti maintained her admiration for Alluchon’s original interior architecture, particularly her well-planned layouts and striking ceilings. Consequently, Sebti preserved the existing ceiling designs, intricately inlaid floors, and original woodwork. Her focus was on restoring the finishes that were part of Alluchon’s earlier renovation. Room functions were reconfigured to align with the client’s contemporary lifestyle, and bathrooms, electrical systems, and lighting were upgraded. The interiors were refreshed with a palette of warm neutrals and rich earthy tones, complementing the home's style and location, and fostering the tranquil atmosphere the client desired. To address the issue of insufficient natural light on the ground floor, Sebti implemented several strategies. She applied a silver-leaf finish to the ceilings, which introduced a soft, reflective quality that distributed light more effectively. The walls were painted in a creamy white with a subtle metallic sheen, further enhancing light reflection. Additionally, mirrored paneling was installed in strategic locations to amplify light and integrate the lush garden views into the interior. A central principle guiding Sebti’s design decisions was that the art should be the focal point. To this end, she devised an innovative modular picture-rail system throughout the house. This system allows for easy rearrangement and evolution of the art display over time, providing flexibility and dynamism to the collection's presentation. To enrich the home's character, Sebti sourced artisanal and vintage pieces from Clay Concept, a design hub based in Dubai that specializes in Moroccan heritage. This curated selection included 1970s Arflex sconces, Modernist items by Knoll, and contemporary pieces from Italian and Danish brands like &Tradition;, Tacchini, and Gubi. She also incorporated unique vintage finds, handmade decorative objects, and candles to create a warm and inviting ambiance. Sebti noted that the year-long project benefited from an unhurried approach, allowing for thoughtful layering and organic maturation of the design, resulting in a home that harmonizes modern design with heritage architecture, respecting its past while embracing its future. #CasablancaHome #InteriorDesign #ArtCollection #MoroccanHeritage #VintageFurniture #LuxuryHomes #ArchitecturalRenovation #DesignInspiration #ModernDesign

Architect Mariam Issoufou discusses her design philosophy and recent projects, including the Rolex Pavilion at the Venice Architecture Biennale and the upcoming Bët-bi museum in Senegal. Issoufou, founder of Mariam Issoufou Architecture and a professor of architecture heritage and sustainability at ETH Zurich, emphasizes a research-led approach that prioritizes local contexts, craftsmanship, and sustainable practices. Her work spans various regions, with a notable focus on projects within the African continent and Europe. The Rolex Pavilion, commissioned for the Venice Architecture Biennale, was designed to reflect Rolex's identity while addressing Carlo Ratti's 2025 theme of adaptation to climate change. Issoufou's design for the pavilion showcases a commitment to local materials and artisan collaboration. The facade is constructed from recycled wooden beams sourced locally, and the interior features a translucent colored ceiling crafted by Murano glassmakers, which creates dynamic light effects. The terrazzo flooring incorporates recycled Cottisso crushed glass. Issoufou aimed to honor Venice's heritage of making and to demonstrate how recycled and local materials can be used effectively in high-profile projects, similar to her work in Africa where materials like recycled metal, earth, and cement are commonly employed. Her design process for the Rolex Pavilion began by considering the unique shape of Venice, a city divided by the Grand Canal, which inspired the form and exhibition spaces of the structure. The project also focused on collaboration across different intelligences and showcased resource efficiency. Issoufou expressed pride in seeing the pavilion come together through the work of local glass, metal, and woodworkers, highlighting the successful integration of traditional Venetian artistry with contemporary sustainable design principles. Issoufou’s practice is characterized by a consistent research-led methodology across all her projects. Instead of imposing a design, she first investigates the architectural history, climate, and vulnerabilities of a specific location. Following this, she identifies and engages with local makers and their existing knowledge and skills. This collaborative and context-driven research then informs the design process, ensuring that each project is uniquely tailored to its environment and community. This approach allows the questions she asks in her projects to remain consistent, while the solutions and outcomes vary based on the specific research findings. Sustainability, for Issoufou, is an intersectional concept that extends beyond mere ecological considerations. She integrates green standards with social, cultural, and economic upliftment for the communities involved in her projects. This holistic view ensures that her architectural interventions contribute positively to the broader well-being of people and places, preserving cultural heritage and fostering economic opportunities. Beyond the Rolex Pavilion, Issoufou is currently focused on the construction phases of two significant projects: the Bët-bi museum in Senegal and the Ellen Johnson Sirleaf Presidential Center in Monrovia, Liberia. The Bët-bi museum, commissioned by the Josef and Anni Albers Foundation and Le Korsa, will be a 1,000-square-meter center for contemporary and historic African art, also serving as a temporary home for repatriated objects. Its triangular form is inspired by the Indigenous Serer people's belief system, symbolizing the relationship between elements, the living, and the dead. The museum will be built into the landscape using sustainable, traditional materials with the help of local artisans, reflecting Issoufou’s commitment to culturally resonant and environmentally responsible design. The Ellen Johnson Sirleaf Presidential Center, where Issoufou is the lead architect, involves collaborations with Sumayya Vally and Karen Richards Barnes, further exemplifying her collaborative and community-focused design ethos. These ongoing projects underscore her dedication to creating spaces that are deeply rooted in their cultural and environmental contexts while promoting sustainability and community engagement. #Architecture #SustainableDesign #VeniceArchitectureBiennale #RolexPavilion #MariamIssoufou #CulturalHeritage #CommunityEngagement #AfricanArchitecture #LocalCraftsmanship

Lebanese designer Charles Kalpakian has introduced 'Rocky,' a credenza distinguished by its sharp, angular, and sculptural aesthetics. This design represents a three-dimensional interpretation of a traditional pattern frequently employed by cabinet makers, integrating optical illusions to manipulate perceptions of space and volume. The credenza's appearance dynamically shifts depending on the viewer's perspective, offering a constantly evolving visual experience. Crafted from steel, the 'Rocky' credenza features a subtly textured coating available in three distinct color options: black, blue, and aluminum grey. Each color choice enhances the credenza's angular forms, allowing the play of light and shadow to further define its sculptural quality. The steel construction ensures durability and a contemporary industrial aesthetic, while the textured finish adds a tactile dimension to the visual depth created by the optical illusions. Kalpakian’s design process for 'Rocky' involved extensive experimentation, including the use of 3D printed prototypes. These prototypes were instrumental in refining the precise angles and lines necessary to achieve the desired optical effects, ensuring that the credenza’s structure effectively tricks the eye into perceiving varying depths and forms. This meticulous approach highlights the designer's commitment to both innovative aesthetics and precise execution. The functionality of 'Rocky' is also carefully considered. The shelving units are designed to accommodate oversized books, reflecting a practical application for its unique structure. This feature ensures that the credenza is not merely a sculptural art piece but also a functional furniture item, capable of serving its primary purpose effectively while simultaneously acting as a striking design element within any interior space. 'Rocky' forms part of Charles Kalpakian's broader Middle Eastern furniture collection, which often explores the intersection of traditional craftsmanship with modern design principles and technological advancements. This collection frequently showcases his ability to infuse contemporary pieces with cultural resonance while pushing the boundaries of material and form. The credenza exemplifies his signature style, characterized by a blend of artistic vision and practical design. The piece challenges conventional perceptions of furniture by transforming static objects into dynamic visual experiences through the strategic application of geometric principles and optical play. Its versatile color options and robust construction ensure its suitability for a variety of interior design schemes, from minimalist to more eclectic environments. #CharlesKalpakian #RockyShelves #OpticalIllusions #FurnitureDesign #Credenza #SteelFurniture #SculpturalDesign #ContemporaryDesign #InteriorDesign

The Nomad design fair is hosting its second event at La Vigie, the oldest villa in Monaco and former residence of Karl Lagerfeld, showcasing collectable design over four days. Conceived by Giorgio Pace and Nicolas Bellavance-Lecompte, this year's fair features new designs from 17 international galleries and special projects by LizWorks and Mathieu Lehanneur. Among the notable exhibits, Carwan Gallery presents five ceramic pieces by Swiss-Chilean designer Anton Alvarez. These tubular forms, first shown at Salone del Mobile in his 'Unsighted' exhibition, are characterized by a striking cobalt blue hue and a unique extruded appearance, reminiscent of Play-Doh. Sarah Myerscough Gallery showcases a new wood-turning project by Danish furniture makers Lasse Kristensen and Mette Bentzen (Egeværk). Their 'Void' table is crafted from a single Danish Ash tree, with layers meticulously stripped to create a smooth, horn-like shape. New York-based Friedman Benda gallery makes its debut at Nomad with an eclectic display of Misha Khan's work. The exhibition features 15 playful pieces that utilize diverse materials to create exaggerated forms, including marble powder, resin, and wood stools positioned in front of the room's fireplace. A standout piece is the large-scale stainless steel and glass table, 'Back Bend Starfish Puts on all Her Jewels for Her Workout'. Etage Projects from Copenhagen is presenting an ice-blue iteration of Sabine Marcelis’ resin 'Soap' table, following the release of an off-white version at Nomad St. Moritz earlier in the year. This minimalist and matte design highlights Marcelis’ innovative use of resin and complements other opulent designs by Fredrik Paulsen and FOS on display. David Gill Gallery features the official launch of Mattia Bonetti's 'Tiger' cabinet, an eclectic piece that blends mahogany, brass, and leather. The cabinet's animalistic patterns contrast with its sophisticated form, creating a striking design intended to stand out against the Monte Carlo landscape. Nilufar Gallery presents an updated version of the Chaise Maurice by Beirut-based design duo David and Nicolas. This classic Lebanese chair, originally designed in painted steel, walnut wood, and green upholstery, has been reimagined with Red Cavallino upholstery and an ottoman footrest for enhanced luxury. The fair is hosted at La Vigie, a location known for its significant design history and its previous role in Nomad's first edition. The article includes various images of the installations and the historic Monaco villa, offering a visual tour of the showcased designs within the unique setting. The Nomad Circle exhibition is scheduled to be on view from April 26-29 at Villa La Vigie, providing an opportunity for enthusiasts to experience these innovative designs firsthand. #NomadFair #DesignExhibition #MonacoDesign #KarlLagerfeldVilla #CollectibleDesign #ContemporaryFurniture #ArtAndDesign #LuxuryInteriors

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

This article presents an in-depth conversation with architect Bjarke Ingels, marking nearly ten years since his last interview with Archinect. The discussion focuses on BIG's extensive work in 3D printing and its implications for the architectural profession, as well as the emerging role of artificial intelligence in design. The interview begins by exploring BIG's latest collaboration with construction technology specialists ICON: a collection of pre-designed, 3D-printable homes for ICON's new CODEX catalog. Ingels details the philosophy behind these designs, which originated from investigations into how single-family homes could leverage 3D printing technology. He explains the three distinct collections within CODEX: the 'Storm' collection, featuring hurricane-resistant designs; the 'Fire' collection, offering resilience against wildfires; and the 'TexNext' collection, reimagining traditional Texan typologies like shotgun and porch houses through a 3D printing lens. These collections aim to provide affordable, customizable housing solutions that respond to specific environmental challenges and regional aesthetics. The conversation then delves into how previous 3D printing projects, such as the Mars Dune Alpha simulation habitat, the hospitality project with Liz Lambert, and the 100-home Wolf Ranch development, have informed BIG's approach to the CODEX collection. Ingels highlights that these earlier experiences demonstrated the potential for organically delivering large-scale communities. The traditional method of viewing demonstration homes and purchasing a plot for later construction is contrasted with the efficiency of having 3D printers on-site, capable of delivering a wider variety of customized homes on demand. This approach, termed 'home delivery on-demand,' offers increased customization for a broader audience and can be applied to both large developments and individual plots. Ingels also discusses the specific circumstances where 3D printing offers advantages over conventional construction methods. He points out that innovations driven by the challenges of building on the Moon and Mars, such as ICON's new robotic arm printers, are now yielding benefits for Earth-bound construction. These advanced printers can create taller, more complex structures with reduced site preparation, increasing quality and speed while lowering costs. For the immediate future on Earth, low-rise structures, particularly single-family homes, are best suited to leverage 3D printing's benefits, including effortless customization and freedom of form, which represent significant improvements over traditional methods. Furthermore, the article explores the concept of new business models for architects. Ingels suggests that the product-based model, exemplified by CODEX, allows architects to refine and improve their designs over time, similar to product manufacturers. This contrasts with the traditional service-based model where each project starts from scratch. He envisions a future where architects could generate ongoing royalties from their intellectual property, even after retirement, as seen with his co-founded design practice, KiBiSi. This product-oriented approach also enables continuous feedback and iteration, leading to enhanced quality and efficient delivery. Finally, the discussion addresses the impact of artificial intelligence on architectural practice. Ingels reflects on the progression of design tools, from crayons to rulers to mice, each offering new possibilities while requiring a shift in control. He posits that AI represents the next evolution, allowing young designers to leverage a creative force comparable to that of a large, experienced team. AI eliminates barriers to entry for delivering complex visions with precision and skill, much like modern digital camera technology has democratized film production. Ingels expresses excitement for architecture-focused AI systems like ICON's 'Vitruvius,' acknowledging that while these technologies are in their early stages, their rapid pace of improvement, driven by global collaboration and learning, promises a future of immense potential for the architectural profession. #BjarkeIngels #BIG #ICON #3DPrinting #ArchitecturalInnovation #ArtificialIntelligence #HomeDesign #SustainableArchitecture #FutureOfArchitecture

For the 2014 Melbourne Cup Carnival at Flemington Racecourse, Mim Design collaborated with The Big Group and Design Depot to create the Lexus Design Pavilion, a luxurious space within The Birdcage. The design concept drew inspiration from the event's iconic roses, the fashion, champagne, and particularly the new Lexus NX car, integrating its sleek lines and angular forms into patterns and fabrics throughout the marquee. The pavilion aimed to provide a sought-after setting for guests to enjoy the carnival atmosphere. The entrance to the marquee featured the Lexus NX car prominently, flanked by a media wall and mounted stacks of branches and roses, signaling the involvement of sustainable designer Joost Bakker. The ground floor housed a versatile brass bar, which served as a DJ booth and champagne station, alongside a hatch offering gourmet burgers by chef Neil Perry. Artist Chris Watterson applied an ombre effect to the marquee walls, adding depth and softness, while custom-designed banquette seating provided comfort and vibrant color with its fragmented patterns. The multi-story pavilion encouraged guests to move upwards, with stairs leading to the first floor. Miriam Fanning, principal of Mim Design, highlighted the intended 'wow' factor upon reaching the upper level. This floor served as the glamorous centerpiece, featuring a forty-eight-seat Attica pop-up restaurant. The restaurant was dramatically adorned with an organic canopy installation by Joost Bakker, consisting of a steel grid from which hundreds of freshly coppiced smoke bush branches were suspended with galvanized wire. Hundreds of repurposed light globes, saved from Bakker's previous retrofits, were also suspended and transformed into miniature vases for rose bulbs, filled daily with fresh water and between five thousand to six thousand roses. The pavilion's rooftop deck, designed by celebrity landscape designer Jamie Durie, offered views of the racecourse and a vertical herb garden, providing a sunny spot for attendees. The project faced specific challenges inherent to temporary structures, such as the absence of built structural walls, requiring self-supporting designs. Lead times were also a constraint, with builders only gaining access four to six weeks before race day, which complicated furniture scheduling. Despite these hurdles, the design team embraced the opportunity to contribute to the internationally recognized Melbourne Cup Carnival, emphasizing the celebratory aspect of the event. #LexusDesignPavillion #MimDesign #MelbourneCupCarnival #EventDesign #LuxuryHospitality #JoostBakker #SustainableDesign #JamieDurie #TemporaryArchitecture

This article details the journey of Amy and Bruce Paul in designing and decorating their 11,000-square-foot home in Rye, New York, focusing on integrating their extensive art collection into a cohesive interior design. Having previously lived in a post-modern home with traditional furnishings and a growing contemporary art collection, the Pauls sought to create a new residence where the exterior architecture and interior aesthetics were harmoniously aligned with their personal taste in design and art. Their objective was to construct a home that could comfortably accommodate their family of six while optimally showcasing their practiced and perfected collection of paintings and sculptures. The couple acquired a 13-acre estate in Rye before the 2001 World Trade Center attacks, subdividing it into seven lots and reserving a two-plus-acre parcel for their own home. They collaborated with builder Michael DiChiaro to construct a six-bedroom, seven-full-bath residence that offers views of a wooded yard, later enhanced with a pool and waterfall by Coral Sea Pools, and adorned with bronze sculptures by Mexican artist Bruno Luna. For the interior design, Amy Paul enlisted Joseph R. Stabile of J.R. Cattington, who had previously worked with them. Stabile and his team were involved from the ground up, providing input on architectural design, interior finishes, electrical layouts, and lighting selection. Stabile chose a palette of cream and gold to complement the Pauls' artwork and suggested structural modifications, such as adding a doorway to improve flow in the formal living room. Amy's primary design directive was for a "light and bright" home, which was achieved in the living room through buttery gold satin-striped fabric from Robert Allen for window treatments and crystal wall sconces by Crystorama. This room serves as a gallery for various notable paintings, including works by Janet Treby, Liane Abrieu, and Russian artists. The soft color scheme is accented by silk brocade wing chairs with colorful throw pillows and fuchsia and silk rugs from China. The family room continues the luminous theme with yellow walls, a toile pattern by Antonia Vella, Seabrook wallcoverings, and similarly colored fabrics in lemon, green, and persimmon for window treatments, pillows, and side chairs. Crystal chandeliers from Murano, imported by Castilian Imports, were chosen to coordinate with paintings by Isaac Maimon and Charles Levier. The coffered ceiling in a green apple shade with cream-colored woodwork further enhances the vibrant, garden-like atmosphere. Bruce Paul's personal space, a clubby card room, contrasts with Amy's preferences, featuring dark wood paneling, built-in bookcases, a bar, and masculine fabrics. This room, separated from the family room by a stone-front fireplace, includes Biedermeier chairs with leopard-print fabric and various personal artifacts. Stabile designed the fireplace with intricately carved mahogany lions and used a Serengeti Leopard carpet to connect Bruce’s adjoining office. The Pauls' children, Joanna, Ryan, Matt, and Jason, also contributed to the design of their respective bedrooms and bathrooms, incorporating elements such as Masland Carpets, Bernhardt furnishings, and Thibaut wallpapers. The master bedroom, with its vaulted ceiling, presented a challenge in scale, addressed by Stabile using Highland Court silk brocade for a cornice "headboard" that coordinates with custom curtains. The article highlights the Pauls' passion for art collection, which began with a French artist Charles Levier painting and expanded to include works from their travels to Europe, South America, Asia, and the Southwest. Despite concerns about diminishing wall space, their quest for art, driven by personal connection and memories from their travels, continues. #HomeDesign #InteriorDecor #ArtCollection #LuxuryHome #RyeResidence #JosephStabile #CustomDesign #ArchitecturalFeatures #PersonalStyle

Palestinian designer Lameice Abu Aker, based between Jerusalem and Milan, is revitalizing the centuries-old art of glassblowing from her homeland. Her work aims to infuse hope through vibrant colors, unique forms, and a touch of femininity, while also preserving Palestinian cultural heritage. Abu Aker emphasizes the significance of reclaiming artisanal practices for her people, particularly given the historical roots of glassblowing in the Middle East, with Sidon and Aleppo being early centers, and Hebron in Palestine historically renowned for its glass production. Hebron's glass factories once produced distinctive blue and green jugs, cups, bottles, and beads, a craft passed down through generations. Abu Aker collaborates with skilled Palestinian artisans to create modern glass pieces, including flower vases and drinking cups, breathing new life into this traditional art. Her designs have garnered international recognition, being showcased at prestigious events like Milan Design Week and the Design Doha Biennial. Abu Aker's personal journey into design began in Jerusalem, fueled by a childhood interest in sketching and visual expression. Her move to Milan allowed her to specialize in furniture design and explore various materials, with a strong desire to integrate her Palestinian heritage into contemporary design. She chose glass as her primary medium due to its historical connection to her heritage and its unique artistic qualities. She describes the glassblowing process as challenging yet poetic, dreamy, and romantic, highlighting the material's dynamic and somewhat unpredictable nature, often described by artisans as 'dancing.' Her approach involves a deep respect for the material, avoiding molds and allowing the glass to dictate its own form through extensive experimentation and dedication. She recognizes the global challenge of declining craftsmanship, noting that in Palestine, this issue is exacerbated by various external pressures. Abu Aker views her work as a crucial effort to remind people of the value of artisanal traditions and to support craft communities that are often overlooked in a fast-paced, consumer-driven world. The establishment of her atelier, Ornamental by Lameice, was a deliberate step during the COVID-19 pandemic, providing an opportunity to align her artistic passion with a meaningful objective of cultural preservation. The aesthetic of her colorful pieces is characterized by lightness, fluidity, and an organic feel. Abu Aker aims for designs that provoke conversation, evoke emotions, and express a balance of strength and femininity, contrasting with harsh or edgy forms. Her inspirations are diverse, ranging from music and poetry to natural forms, acknowledging that the creative process often leads to unexpected outcomes. She collaborates with the Twam family, a multi-generational glassblowing family from Jaba’, whose inclusive and collaborative approach to their craft deeply moved her. She highlights the inherent challenges of glassblowing, such as working with extreme heat and the delicate nature of the material, which demand intense focus, intricacy, and patience. Through her work, especially amidst the current climate in Palestine, Lameice Abu Aker aims to assert Palestinian identity and demonstrate the community's unique capabilities and high-skilled craftsmanship, viewing activism through the lens of artistic creation. #LameiceAbuAker #PalestinianDesign #Glassblowing #CulturalPreservation #Craftsmanship #MiddleEasternArt #DesignDoha #MilanDesignWeek #HeritageCrafts

This article details the comprehensive restoration of Marcel Breuer’s "House in the Museum Garden," originally designed for a 1949 Museum of Modern Art (MoMA) exhibition. The house, intended as a prototype for a well-designed, moderately-priced modern home for the average American family, was purchased by the Rockefellers in 1950 and reconstructed on their Kykuit estate in Pocantico Hills, New York. In 2007, the property was transferred to the National Trust, initiating its meticulous restoration by a team from the Rockefeller Brothers Fund. The original design by the Bauhaus-trained Breuer aimed to offer an easily replicable blueprint for modern living, contrasting sharply with the post-World War II proliferation of vernacular-style tract housing. Philip Johnson, founder of MoMA’s Department of Architecture and Design, championed Breuer’s design as an ideal suburban home. While the house was initially an exhibition piece, its subsequent use as a residence over six decades led to numerous modifications, including the addition of a garage extension and the extension of a kitchen wall to the ceiling. The original construction also lacked essential plumbing and electrical wiring, which were later integrated. Furthermore, key elements of Breuer's design, such as flagstone flooring and outdoor spaces, were not fully reconstructed during the initial move. The restoration effort, led by Kykuit’s Senior Curator Cynthia Bronson Altman and Staff Architect Kimberly Miller, aims to balance historical accuracy with the practicalities of a functional residence. This involves reinterpreting certain aspects, such as replacing plywood bathroom walls with more durable glass tile. The team relies on MoMA registrar documents, black and white photographs (and a few color ones by Ezra Stoller), and extensive research to guide their work. Their attention to detail extends to paint colors—scientifically analyzed to match Breuer Blue, chili-pepper red, Navajo white, and milkshake—furnishings, and even fabrics, with some drapery fabrics being custom-commissioned. The popularity of mid-century design has facilitated the acquisition of reissued iconic furniture pieces, including Breuer’s nesting bent-ply tables, the Wassily lounge chair, and Saarinen Grasshopper armchairs. Structurally, the house features Breuer's distinctive butterfly roof, a direct counterpoint to traditional high-pitched roofs. This design not only creates a striking visual but also allows for adaptable interior spaces, including a double-height area capable of accommodating an additional story. Breuer's "bi-nuclear" layout was designed to evolve with a growing family, separating the master bedroom suite from the children's bedrooms, bathroom, and playroom. The house’s flow of space and use of materials are highlighted as significant design elements. Finishes on ceilings, floors, and walls extend outwards, enhancing the sense of spaciousness. The interplay of natural materials such as cedar siding, bluestone flagging, steel for the exterior staircase, and large glass expanses define its aesthetic. The restoration team also addresses unique design choices, such as the "delicate railing of tension cables," which serves as a contrasting element to the architecture's perceived weight. Future plans include reconstructing the outdoor spaces and sourcing additional period furnishings, such as a raffia rug for the living room, to further enhance the authentic feel of the space. #ArchitecturalRestoration #MarcelBreuer #MidCenturyModern #MoMAExhibition #RockefellerEstate #BauhausDesign #HomeDesignHistory #InteriorDesign #HistoricalPreservation

This article from T Magazine highlights a range of cultural and lifestyle recommendations, featuring a former N.F.L. player turned furniture designer, a new art gallery in TriBeCa, a botanical-inspired wallpaper collection, an Athens restaurant showcasing contemporary Greek art, a homey Seattle hotel, and a hand-painted apparel line. Each section provides details about the featured subject, including their background, inspiration, notable works, and practical information for visitors or consumers. Michael Bennett, a former N.F.L. player, founded Studio Kër after retiring from football in 2020. His furniture designs are deeply inspired by his activism work for racial justice, his upbringing in Louisiana and Texas, and his ancestral roots in Senegal. Bennett’s inaugural exhibition, “We Gotta Get Back to the Crib,” features an 11-piece collection of sculptural furniture that reinterprets objects found in communal Black spaces. Key pieces include the Gumbo lounge chair, a sophisticated take on the monobloc chair, and the Pew couch, inspired by church benches, crafted from leather and ekki wood. The exhibition debuted at Theaster Gates’s Rebuild Foundation in Chicago and is scheduled to travel to Houston. In TriBeCa, New York, gallerist Jack Shainman opened a new 20,000-square-foot gallery called The Hall in the historic Clock Tower Building. This Beaux-Arts space, built around 1898 and formerly home to the New York Life Insurance Company, has been renovated and restored. The gallery serves as a new cultural center offering free exhibits, allowing visitors to appreciate both contemporary art and the historic Manhattan architecture, including its preserved bank vault and 29-foot-high coffered wood ceilings. The Hall plans to officially open in September with a 16-foot-tall bronze sculpture by artist Nick Cave. Currently, it features Richard Mosse’s immersive 74-minute multi-spectral video installation, “Broken Spectre,” which addresses the destruction of the Amazon rainforest. Mosse emphasizes the historical connection between the building’s past, built on wealth from enslaved people, and ongoing global issues like environmental destruction. Marian McEvoy, a former fashion and design editor, launched a new wallpaper and fabric collection with Schumacher, inspired by her botanical collages and illustrations. After nearly 30 years in Paris and Manhattan, McEvoy moved to a cottage on the Hudson River, where she creates her art. Her collaboration with Schumacher features six wallcoverings and four fabrics, including prints like Thistle Vine, Polka-Dot Jungle, and Bow-Wow-Wow, all reflecting her signature use of strong colors and lines. McEvoy has incorporated these designs into her own home, showcasing her personal approval of the collection. In Athens, entrepreneur and art collector Philippos Tsangrides opened Gallina, a restaurant designed by Objects of Common Interest. The interiors blend diverse materials such as red marble, pink leather, terrazzo, and wood, creating an unexpected aesthetic. Gallina also displays pieces from Tsangrides’s private art collection, including a silk tapestry by Jannis Varelas and a neon sign by Olga Migliaressi-Phoca. A notable design element is a sinuous white light tube by the architects. The menu, curated by chef Pavlos Kiriakis, features dishes with no specific provenance, such as chicken with miso beurre blanc and truffle, and wild mushrooms with white chocolate béarnaise. Tsangrides intends to open a wine bar nearby. Julian Hagood and Jake Santelli opened Harry’s Guest House, a two-room hotel in Seattle’s Capitol Hill, inspired by their neighbor Winnie. The Dutch Colonial home was purchased from Winnie, whose drawings and wooden writing desk are now integrated into the hotel’s design. One suite is named after Winnie, and the other after the couple’s dog, Lucy. The interiors combine vintage and contemporary furniture and textiles, featuring a 1940s hand-carved wardrobe and Zak+Fox fabrics. Guests can also enjoy in-room dining from Harry’s Fine Foods, Hagood’s adjacent restaurant. Artists Julia Dault and Hannah Whitaker launched Signs Point to Yes, a line of hand-painted apparel. Their sweatshirts and pants feature designs like metallic tulips, sherbet-hued confetti, and smiley (and sad) faces, often painted using ketchup bottles to achieve a gestural, imperfect style. The brand name, inspired by a Magic 8 Ball, conveys a sense of optimistic humor. The artists selected comfortable cotton garments as their canvases, recognizing their popularity during the pandemic and their continued appeal beyond loungewear. #SculpturalFurniture #ArtExhibition #Design #ArtGallery #InteriorDesign #HomeDecor #Restaurants #Hotels #Fashion

Dalit Lilienthal's installation, 'static movement,' located in a 1920s building in Tel Aviv, Israel, addresses the contrast between the building's inherent immobility and the constant flow of students at the 6B studio design school. The project aimed to introduce a dynamic visual experience within the entrance leading to the secretariat and study halls, an area with high student traffic. The central concept involves creating an illusion of motion on a wall, enhancing the perception of the space for those entering and exiting the building. The renovation respected existing architectural elements, with specific stipulations that windows and railings could not be altered in size or material. In response, a fresh dark grey paint was applied to the decorative railing, and the handrail was restored to its original wooden state through sanding. These modifications subtly updated the historical features while maintaining their integrity. The core of the 'static movement' installation lies in its use of aluminum strips. These strips were precisely cut using a laser machine and arranged in two layers on the staircase wall. Each layer consists of 50 strips. A moiré effect is achieved by superimposing one layer over the other and intentionally offsetting their angles by a few degrees. This arrangement creates a visual phenomenon where the static strips appear to ripple and flow, producing a sense of dynamic movement as viewers pass by. Further extending the design, another set of aluminum bands is incorporated into the corridor. Within these bands, wooden boxes are integrated, serving as a functional information stand where students can access brochures and publications. This thoughtful inclusion combines aesthetic appeal with practical utility, transforming a transitional space into an interactive area. LED lighting is strategically placed between the two layers of aluminum strips, enhancing the visual depth and motion of the moiré effect. The process involved individually numbering and painting each of the 150 cut strips before they were mounted. Detailed plans illustrate the precise positioning of each numbered strip in the front layer, and how the back layer is tilted by a few degrees to achieve the desired moiré effect when superimposed. This meticulous approach underscores the precision required to bring the 'static movement' concept to life, making a static architectural element appear fluid and alive, thereby engaging the occupants in a unique visual experience. #ArchitecturalInstallation #MoiréEffect #InteriorDesign #TelAviv #DesignSchool #AluminumArt #StaticMovement #PublicSpaceDesign