maarten baas extrudes 'naive sketches' into close parity furniture collection

The article explores ten of the most influential pieces of furniture and homeware designed by Bauhaus artists and architects, celebrating the school's centenary. The Bauhaus school, known for its distinctive modern style rooted in simplicity and functionality, produced designs that became iconic in the 20th century. Bauhaus furniture emphasized practicality, stripping down objects to their basic elements and utilizing simple geometric forms. The aim was to create aesthetically pleasing items that were also accessible for mass production, leveraging modern industrial techniques and unconventional materials like steel, glass, plywood, and plastic. Key designs highlighted include Marcel Breuer's Wassily Chair, inspired by bicycle handlebars and reducing the club chair to an outline of tubular steel and canvas. Peter Keler's Baby Cradle, designed for the first Bauhaus exhibition, draws inspiration from Wassily Kandinsky's color theory, featuring primary colors and simple geometric shapes like triangles, rectangles, and circles. Josef Hartwig's Bauhaus Chess Set simplifies the pieces to represent their movements, removing traditional religious and monarchical symbols to modernize the game. Ludwig Mies van der Rohe's Brno Chair showcases the cantilever principle, eliminating the need for four legs with a single C-shaped bar. Marianne Brandt's Tea Infuser exemplifies functional design by stripping a conventional teapot of ornament, creating a compact, geometric metal vessel for a concentrated tea extract. Josef Pohl's Wardrobe on Rollers, or "Bachelor's Wardrobe," is a versatile and space-saving plywood design mounted on castors, making it affordable and convenient for apartment living. Mies van der Rohe and Lilly Reich's Barcelona Chair, created for the Barcelona International Exposition, features slim cushions on a stainless-steel frame, initially bolted and later redesigned as a seamless piece. Wilhelm Wagenfeld and Carl Jakob Jucker's MT8 Lamp, known as the Bauhaus Lamp, embodies the "form follows function" principle with its simple, geometric shape of glass and metal, using an opaque industrial lampshade. Walter Gropius's Door Knob, first mass-produced in 1923, features a cylindrical grip and a squared stem made from nickel-plated brass, becoming the most commercially successful Bauhaus product. Finally, Josef Albers' Nesting Tables, designed during his tenure as artistic director of the furniture workshop, are a set of accent tables made from solid oak and lacquered acrylic glass, incorporating Albers' signature colorful and geometric style with blue, red, yellow, and white elements. These designs collectively showcase the Bauhaus's enduring impact on modern design through their innovative use of materials, emphasis on functionality, and minimalist aesthetics. #Bauhaus #FurnitureDesign #Homeware #MarcelBreuer #MiesVanDerRohe #MarianneBrandt #WalterGropius #JosefAlbers #ProductDesign

British architect John Pawson has partnered with Danish timber brand Dinesen to introduce a new furniture collection. This collaboration marks Pawson's latest venture into product design, following a long-standing relationship between the architect and the 125-year-old wood company. The collection, characterized by its pared-back aesthetic and minimal design, features a range of tables and seating options crafted primarily from Dinesen's signature ash wood. The launch encompasses a Lounge Series, which includes a stool, a daybed, and an armchair. These upholstered pieces are available with textiles from the renowned brand Kvadrat, adding a touch of softness to the otherwise austere wooden frames. Additionally, the collection introduces a Dining Series, comprising various tables and complementary seating. The design philosophy behind these pieces reflects Pawson's well-known minimalist approach, emphasizing clean lines, functional forms, and the inherent beauty of the natural material. The partnership between Pawson and Dinesen dates back approximately three decades, originating from the architect's need for simple, custom-made furniture for his London residence. Pawson initially crafted these pieces from Dinesen's ash wood planks, effectively laying the groundwork for this official collaboration. Both Pawson and Hans Peter Dinesen, the fifth-generation brand director, share a profound appreciation for wood as a foundational element in design. They view furniture not merely as objects but as stages upon which life unfolds, highlighting its role in shaping personal narratives within the home. Hans Peter Dinesen articulates this sentiment by stating that furniture serves as a medium for shared stories, particularly within domestic settings. Pawson further emphasizes the significance of furniture placement, noting that even minor adjustments can profoundly impact a space's ambiance and functionality. This attention to detail and thoughtful arrangement underscores the collection's alignment with principles of intentional living and design. To formally unveil the collection, Pawson and Dinesen are preparing a special presentation for the upcoming 3 Days of Design festival in Copenhagen. During this event, Dinesen's Copenhagen showroom will be transformed into a model apartment, meticulously furnished with pieces from the new line. This immersive experience will allow visitors to witness the collection in a realistic setting, demonstrating its versatility and integration within a residential environment. The exhibition will also serve as a practical demonstration of Pawson's philosophy on furniture arrangement and its impact on living spaces. #JohnPawson #Dinesen #FurnitureCollection #MinimalistDesign #WoodFurniture #InteriorDesign #DanishDesign #DesignCollaboration #ContemporaryFurniture

The 101 Chair, designed by Maarten Baas for Lensvelt, features distinctive amorphous backrests with a hand-drawn aesthetic, offering a customizable and versatile seating solution. Initially unveiled at the Salone del Mobile in 2017, this chair quickly gained recognition for being the Dutch designer's inaugural mass-produced item. Its design philosophy centers on creating chairs that appear individually hand-drawn, adding a unique and surprising element to each piece. The chair's enduring popularity has led to the expansion of the 101 Chair family, which now includes various models to suit different needs and preferences. These variations encompass chairs with stackable frames, making them practical for spaces requiring flexible arrangements, and options with or without armrests for enhanced comfort and aesthetic choice. Furthermore, the collection has evolved to include high and low barstool versions, broadening its application across different settings, from casual dining areas to commercial bar environments. A key aspect of the 101 Chair's customizability lies in its eight distinctive backrest designs, each evocative of loose, hand-drawn human faces. This artistic approach ensures that every chair possesses a unique character, preventing a monotonous or mass-produced appearance. Complementing these artistic backrests are 14 upholstery options available for both the backrests and the cushioned seats, allowing for extensive personalization in terms of color, texture, and material. For the structural elements, customers can select between a metallic or an oak frame, providing further opportunities to match the chair with existing decor or to create a specific interior design mood. The metallic frame offers a sleek, modern look, while the oak frame provides a warmer, more natural aesthetic. This combination of design elements allows the 101 Chair to integrate seamlessly into diverse interior styles, from contemporary minimalist to more traditional or eclectic settings. The collaboration between Maarten Baas and Lensvelt marked a significant milestone, as Lensvelt was instrumental in bringing Baas's vision for a mass-produced, yet individually characterized, product to fruition. This partnership has proven highly successful, with the 101 Chair series becoming one of Lensvelt's bestsellers within three years of its initial launch. The chairs' ability to combine the charm of a handmade item with the practicality and accessibility of a mass-produced product has resonated strongly with consumers and designers alike. In summary, the 101 Chair represents a fusion of artistic expression and functional design, offering a customizable and aesthetically pleasing seating solution. Its distinctive hand-drawn backrests, diverse material options, and practical variations make it a celebrated piece in modern furniture design, demonstrating the successful collaboration between a visionary designer and a reputable brand. #MaartenBaas #Lensvelt #101Chair #FurnitureDesign #CustomizableSeating #ModernFurniture #InteriorDesign #ProductDesign

Michael Beaster, an artist from Door County, combines art and functionality in his unconventional furniture designs. Initially running a business in underground power line installation, Beaster pivoted to woodworking after an economic downturn. He enrolled in a woodworking and cabinet-making program at Madison Area Technical College. Despite initial pressure to focus on cabinetry, he pursued his interest in furniture making, eventually developing a distinct style that gained recognition both locally in Door County and nationally. Beaster's journey into furniture art began 17 years prior to the article's publication when he moved to Door County. After vocational school, he secured a position with a local woodworker, which provided him with valuable hands-on experience and insights into various woodworking techniques beyond formal education. Over time, he familiarized himself with the properties of different wood types and started collecting tools and machinery, preparing for his own workshop. His artistic evolution was marked by a curiosity about challenging traditional woodworking norms. Beaster started experimenting with unconventional styles and techniques, leading to furniture pieces that appear to bend, lean, and curve. His designs create an illusionary effect; for instance, a cabinet might stretch and curve to one side, or taper to a tiny drawer at the top despite a solid base. Other pieces seem to be caught in a strong wind, yet remain firmly rooted on thin legs. He also incorporates hidden compartments and asymmetrical elements, often with slanted drawer fronts. One of his most impressive creations is a cabinet that curves and curls with a perfect spray pattern of wood grain, giving wood a plastic-like appearance. While his designs have a cartoonish and fun aesthetic, they are meticulously planned, engineered, and perfectly balanced, demonstrating a deep understanding of physics and functionality. Beaster emphasizes that breaking rules effectively requires a thorough understanding of the basic principles of woodworking and the properties of wood. He believes this knowledge is crucial to knowing the limits of how far one can deviate from traditional methods. His first unconventional piece was an art deco unit with inlaid glass marbles, which was well-received and led to marbles becoming a signature element in his designs. He also incorporates lighting, including fluorescent, incandescent, and neon lights, into his pieces. To overcome the challenge of wood drying out from the heat of these lights, Beaster developed methods using masonite, silicon, or ventilation holes, sometimes integrating these solutions into the design itself. Beaster often uses up to ten different types of wood in a single design, creating a rich interplay of color and texture. He meticulously hand-selects each piece of wood for its color, cut, and interesting grain patterns, known as the figure of the wood. For example, when selecting maple, he examines both the top and the edge to appreciate the illusion of hills and valleys in its grain. He favors Australian lace wood for its intricate patterns and iridescence, and ash for its strength and more noticeable grain, as well as its ease of workability compared to maple. Despite his mastery, Beaster acknowledges the challenges in creating his bent furniture pieces, sometimes needing to step away from a project for weeks to find a solution. He remains optimistic, believing there is always an alternative approach, and notes that wood can be forgiving if one adheres to the 'measure twice, cut once' rule. His future aspirations include creating neon kinetic furniture and wood sculptures. His work is exclusively sold at Fine Line Designs Gallery in Ephraim, where he sometimes interacts directly with customers, observing their favorable reactions and appreciation for his unique blend of art and function. #MichaelBeaster #WoodworkingArt #FurnitureDesign #ArtFurniture #DoorCountyArt #CreativeCraftsmanship #SculpturalFurniture #UnconventionalDesign

The late Austrian sculptor, designer, and installation artist Franz West is being celebrated in a new exhibition at New York's Gagosian Gallery titled 'Franz West: Möbelskulpturen/Furniture Works'. West, who received the Venice Biennale Golden Lion for Lifetime Achievement in 2011, is internationally recognized for his pioneering work that integrates participation, play, and design. This exhibition showcases new editions of his furniture works, originally produced between 1992 and 2011, which have been re-produced by the Franz West Privatstiftung in West’s Vienna studio by his dedicated staff. Ealan Wingate, the Gagosian's New York director, emphasizes that West's furniture pieces transcend mere functionality, acting as integral components of sculpture rather than solely objects for contemplation. These works are described as both elemental and convivial, inviting interaction and challenging traditional notions of art. The collection on display includes diverse pieces such as sofas upholstered in raw linen, tables featuring steel legs encased in cardboard tubing, and a metal coat rack characterized by sinuous pink squiggles. Additionally, some chairs are enlivened with bold color palettes, demonstrating West's willingness to incorporate vibrant elements alongside more subdued aesthetics. West’s designs are held in the permanent collections of prominent institutions, including the Centre Georges Pompidou and the MAXXI in Rome, highlighting their significant artistic and design value. Wingate notes that West's work has cultivated a devoted following among collectors, a testament to its enduring appeal and unique vision. Notable private collectors include London auctioneer Simon de Pury, Upper East Side/London dealer Dominique Levy, Andrew Hall – founder of the Hall Art Foundation in Reading, Vermont – and artist Mary Heilmann. Heilmann recalls being struck by West's distinctive domestic design sensibility and his ability to bridge design with serious sculpture when they exhibited together in Vienna fifteen years prior. The exhibition underscores that West’s pronounced aesthetic and philosophical approach continue to resonate with a growing global audience. The show at Gagosian Gallery offers a renewed appreciation for West’s innovative approach to furniture as art, emphasizing its interactive and sculptural qualities. The collection, largely photographed by Marina Faust and presented courtesy of Gagosian Gallery and Franz West Privatstiftung, further solidifies West's legacy as a pivotal figure in contemporary art and design. #FranzWest #GagosianGallery #FurnitureDesign #Sculpture #ArtExhibition #AustrianArtist #DesignHistory #ContemporaryArt #InteriorDesign

The London design gallery Béton Brut is currently showcasing the 'Low Collection,' a series of sculptural, curved furniture pieces crafted from solid oak, conceived by Benni Allan, founder of EBBA Architects. This collection, comprising a low seat, a high seat, a two-person bench, and a low table, is on display at the gallery from May 25 to July 8. Allan's design philosophy for the Low Collection is rooted in exploring diverse global sitting practices, drawing inspiration from his personal experiences in China and Spain, and his travels in Japan. The collection aims to challenge conventional notions of seating by offering objects that encourage various modes of interaction, rather than dictating a singular use. Each piece is designed to prompt users to engage with them in a specific way, moving beyond the traditional functions of a chair or table. Crafted from high-quality, kiln-dried oak, the furniture pieces undergo a meticulous production process involving a specialist CNC machine to achieve precise geometric forms. The designs uniquely blend specific curvatures with rigid horizontal or vertical lines. A notable aesthetic feature is the distinct grid pattern created by the end grain of the wood where cross-cuts have been made, highlighting the material's natural beauty. Allan emphasized the transformative quality of the oak, noting how the material's appearance significantly alters based on its geometry. Despite their solid construction, the geometric precision imbues the pieces with a sense of softness and refinement. This approach aligns with Allan's reputation as a rising figure in architecture, known for his innovative use of materials and resourcefulness, as demonstrated in earlier EBBA projects like the Construction Skills School and an apartment refurbishment in Bow. The Low Collection was initially a personal endeavor for Allan, with no immediate plans for exhibition. However, Sophie Pearce, the founder of Béton Brut, recognized the unique appeal and potential of these designs. Béton Brut, typically focused on vintage pieces from the early to mid-20th century, made an exception for Allan's work, a testament to its perceived quality and distinctiveness. Pearce lauded the collection, drawing parallels to iconic works such as Axel Einar Hjorth’s Utö stool from 1932 and Lina Bo Bardi’s side chair for the SESC Pompéia from 1980, underscoring the contemporary relevance and timeless quality of Allan's oak furniture. #BenniAllan #LowCollection #BétonBrut #OakFurniture #SculpturalDesign #FurnitureDesign #ContemporaryDesign #EBBAArchitects #DesignExhibition

Dutch designer Sabine Marcelis has transformed the VitraHaus Loft in Weil am Rhein, Germany, with a vibrant and innovative installation that redefines living spaces through a bold color scheme. This project is a continuation of Marcelis's previous collaboration with the Vitra Design Museum, which included the 2022 'Colour Rush!' exhibition. The current installation on the top floor of the VitraHaus mirrors the design philosophy of Marcelis's own home, featuring a large open space divided into distinct zones, each characterized by a unique color palette. Her approach integrates her own designs with artworks from other artists and iconic Vitra furniture pieces. Till Weber, Vitra’s Creative Director of Interiors & Scenography, highlights the VitraHaus Loft as an ideal setting to showcase the versatility of Vitra furniture. He commends Marcelis's use of natural, organic hues that create a harmonious interaction between the various zones without demanding perfect matches. The design prioritizes a warm, home-like ambiance through a thoughtful layering of design elements and diverse materials, moving away from a traditional gallery aesthetic. Upon entering the loft, visitors encounter a spacious living room bathed in a cool mint green. This area features a distinctive lounge setup conceptualized by Marcelis, utilizing Jasper Morrison’s Soft Modular Sofa to form an inviting, enveloping pit, designed for relaxation, film viewing, and appreciating scenic views. Marcelis's installation employs seven primary colors, each purposefully assigned to a specific zone. For instance, a soft pink defines the bathroom, which includes a custom pale pink onyx unit that captivates with its elegance and light-reflecting properties. Marcelis notes that the chosen colors are personal favorites, selected for their timeless quality and her enduring appreciation for them, a philosophy she believes is crucial for creating a personal home. Her exploration of Vitra's extensive catalog led her to Danish designer Verner Panton. Coinciding with the VitraHaus Loft's unveiling, Marcelis has reinterpreted Panton's iconic Panton Chair Classic (1959) and Visiona Stool (1970), incorporating them into the installation and releasing them as limited editions. Each piece aligns with the loft’s color scheme, with the Visiona Stool featuring various upholstery finishes, including faux fur, leather, and other materials, across the seven colors. Christian Grosen, Vitra’s Chief Design Officer, praised Marcelis’s reinterpretations of Panton’s works, emphasizing the timelessness of Panton’s designs. He believes that the Panton Chair Classic, while echoing its 1960s origins and innovative production techniques, remains highly relevant today, especially with Marcelis’s use of color, which offers a fresh perception of the chair. A significant aspect of Marcelis’s vision for a homely environment within the VitraHaus Loft is the inclusion of artworks and design elements from outside the Vitra collection. This collaborative approach features artists such as Maria Pratts, Johnny Mae Hauser, Carlijn Jacobs, and Berlin-based pattern designer Ehsan Morshed, who has also created special edition printed bedsheets for purchase. Grosen underscores Vitra’s philosophy that its products achieve their full potential when integrated into a collage with other objects, reinforcing the idea that Vitra is not the sole answer but a vital component of a broader design narrative. The reimagined Panton Chair Classics and Visiona Stools are available in limited quantities at the VitraHaus and vitra.com, with specific availability details for the United States. #SabineMarcelis #VitraHaus #InteriorDesign #ColorPalette #FurnitureDesign #VernerPanton #LimitedEdition #ModernDesign #DesignInstallation

The Vitra Design Museum's annual exhibition at the Herzog & de Meuron-designed Schaudepot features a vibrant, rainbow-inspired furniture arrangement curated by designer Sabine Marcelis. Titled 'Colour Rush!', the exhibition, which runs until May 2023, highlights Marcelis' signature use of color in her design practice. Marcelis collaborated with the collection's curator and utilized almost 400 exhibits from the museum's archives. Instead of traditional museum display methods, she focused on a chromatic narrative, allowing color to be the primary organizing principle. Throughout the exhibition, historical objects and documents from the archives are strategically placed to complement the presentation. These additional elements demonstrate how various creatives across different eras have approached and utilized the theme of color in their work. The museum's statement for the project emphasizes the pervasive nature of color in our world, noting its ability to evoke emotions, guide orientation, indicate functions or perils, and signify cultural, political, professional, or religious identities. It also acknowledges that while individual color perception varies, all cultures and times have developed symbols and traditions associated with specific hues. 'Colour Rush!' is described as an homage to the role of color in design across all periods and styles. The installation transforms the Vitra Schaudepot from a conventional archive space into a lively chromatic display, where both color and material play a central role. This arrangement encourages a deeper exploration of our chromatic preferences in the creation of living spaces. Through the contemporary design objects on show, Marcelis prompts visitors to consider the diverse applications of color by influential designers throughout history. The exhibition includes notable examples such as Le Corbusier’s carefully graded palettes and the vivid hues employed by Verner Panton, which were instrumental in defining interior design in the 1960s and 1970s. Panton's sketches are displayed alongside further materials from designers like Alexander Girard and Hella Jongerius. To provide a scientific perspective on the subject, there is also a display of standardized color sorting systems, including RAL and Pantone. The exhibition ultimately serves as a comprehensive exploration of color's impact and significance in the world of design, seen through Marcelis' unique and vibrant lens. #SabineMarcelis #VitraDesignMuseum #ColourRush #FurnitureDesign #ColorInDesign #DesignExhibition #InteriorDesign #DesignHistory

The Bauhaus movement, which emerged in Germany in the late 1910s and continued through the early 1930s, integrated art and design, influencing the midcentury-modern aesthetic. Characterized by its "form follows function" principle, Bauhaus design emphasizes abstract, geometric, and angular shapes with minimalist finishes. While original Bauhaus pieces like the Barcelona chair or Knoll Wassily chair can be costly, contemporary alternatives allow individuals to incorporate this style without exceeding a $300 budget. Affordable Bauhaus-inspired furniture and decor are available across various price points, starting under $50. Options in this range include the AllModern Ara Bench, offering a primary color pop with industrial tubular legs balanced by a soft fabric cushion. MoMA Design Store Mondrian Coasters provide a subtle introduction to the aesthetic with Piet Mondrian's iconic design. The Deny Designs Reverse 01 Framed Art Print adds an abstract, contemporary touch to desks or bookshelves. An Allocacoc Heng Balance Lamp exemplifies "form follows function" with its modern design featuring suspended magnets for illumination. Haus And Hues Geometric Wall Art offers a Mondrian-esque print in a light wood frame, suitable for a Bauhaus gallery wall, and the West Elm Metal Loop Object serves as a decorative, minimalist accent. Moving to the under $100 category, the Umbra Montage Wall Shelf features clean, curved lines and light wood for a modern room. The West Elm Crewel Overlapping Shapes Pillow incorporates classic Bauhaus colors like blue and yellow into an embroidered design, ideal for sectional sofas or lounge chairs. The Wade Logan Barklay Indoor/Outdoor Runner brings geometric patterns and high contrast to hallways or patios, while the Modway Rectangle Wood Wall Mirror provides a sleek entryway mirror with storage, customizable with spherical knobs for a more modern look. In the $150 price bracket, the Littala Nappula Plant Pot extends the Bauhaus ethos to houseplants with its sleek design and geometric curvature. Ebern Designs Kinchen Nesting Tables embody the movement's principle of accessibility, offering simple yet timeless construction suitable for various living stages. The Ivy Bronx Cinead Upholstered Ottoman combines functionality with a whimsical, flowing shape, providing comfortable seating. The Mercury Row Reale Wood Bench, made with birch and pine, offers no-frills seating or a surface for decorative objects. The Threshold Errol Cane and Wood Counter-Height Barstool, reminiscent of the Cantilever chair, features woven cane backrests and thin tubular legs. Lastly, the Saracina Home Modern Minimalist Floating TV Stand prioritizes practicality and simplicity, accommodating TVs up to 70 inches and offering integrated storage. For items under $200, the Urban Outfitters Wally Table Lamp introduces whimsy with its curvy design and frosted spherical shades, enhancing lighting options in a Bauhaus home. The Hashtag Home Brock Coffee Table serves as an entry-level piece for those exploring midcentury aesthetics, featuring a shiny finish and a bottom shelf. The Wade Logan Annaleise Faux Leather Waterfall Bench offers an alternative to chaises with soft curves. The Wade Logan Bairo Indoor/Outdoor Rug utilizes geometric patterns and high contrast for a visually striking design. The AllModern Small Macsen Wall Clock functions as both a timepiece and minimalist decor, reflecting Bauhaus and midcentury styles. The Trent Austin Design Jorgensen Coffee Table with Storage combines rustic elements with early 20th-century trends through its hairpin legs and storage capabilities. Finally, for options under $300, the Wrought Studio Billiejean Tufted Vegan Leather Accent Chair provides an affordable alternative to the Barcelona chair, featuring plush foam padding, cross steel legs, and vegan leather. The 17 Stories Twinar Upholstered Accent Chair offers an accessible interpretation of Bauhaus chair design with a steel frame and gray upholstery. The Lark Manor Gheorghe 6-Drawer Chest exemplifies clean lines, solid construction, and geometric emphasis. The Clancy Floor Lamp incorporates globe lights, a solid marble base, and an asymmetrical iron base, blending retro and art deco elements to create visual interest. #BauhausDesign #HomeDecor #AffordableFurniture #InteriorDesignTrends #MidcenturyModern #MinimalistStyle #GeometricShapes #FunctionalDesign #HomeAccessories

Artu, a Polish furniture design brand, has announced a new collection developed in collaboration with German designer Moritz Putzier. The brand, established four years ago, has carved a niche in the home interior and hospitality markets with its refined, minimalistic, and aesthetically pleasing style. Artu's furniture collections are known for their high-quality fabrication and materials, resulting in durable, functional pieces characterized by simple yet thoughtful design. The brand operates on a model of collaborating with international designers to bring new collections to life. Dmitry Rym, founder and CEO of Artu, explained the brand's origins, stating that it emerged as a natural progression from a trading and production company that had been successful in Eastern Europe since 2000. Leveraging 17 years of experience in producing and supplying furniture for the contract segment, the company decided to launch its own furniture design line to address a gap in the market. Early collaborations, such as with Ukrainian designer Pavel Vetrov, quickly led to commercial success. Initially working with Eastern European designers, Artu later expanded its collaborations globally, repositioning itself as a European brand based in Poland with a world market orientation. Artu's focus on fine and concise design is driven by the European design market, proving successful for both hospitality and home interiors. The brand specializes in furniture that demands a high level of craftsmanship, particularly chairs, which require a perfect balance of design, ergonomics, and construction. Artu's signature style incorporates natural materials like wood and metal, combined with minimalistic shapes. A notable achievement for the brand was receiving the prestigious Red Dot International Award in 2020 for its WOX chair, an early design composed of only seven pieces, which quickly found success in the hospitality market with over 2,500 units sold in its first year. Artu aims to release 3-4 new collections annually, rigorously selecting projects from numerous proposals. Only about 1 in 25-30 offers proceed to production, a process that can take from four months to two years. The complexity of furniture design, especially for chairs, often means many ideas remain conceptual due to production challenges or incompatibility with the brand's style. Artu continuously seeks new ideas and collaborations with product designers who can meet these stringent requirements. The upcoming 'Taptap' collection with Moritz Putzier is highlighted as a unique design perfectly aligning with Artu's aesthetic. The series, crafted from solid ash wood without any plywood elements, emphasizes a tactile experience and aesthetic completeness. The chairs are characterized by their simple, concise appearance, harmonious proportions, and distinctive leg design. Putzier's direct involvement, including providing a prototype, significantly shortened the development time by pre-empting ergonomic and design challenges. Artu plans to present this collection, which includes a series of chairs, in 2023, with another collection with Putzier also in development. Moritz Putzier described the 'Taptap' collection as a re-evaluation of conventional chair appearances, prioritizing functionality while introducing surprising elements. The design inspiration for the chair, for instance, includes an unusually low backrest that supports comfortable and varied seating positions, bridging the gap between a chair and a stool for everyday use. He aimed for a flexible seating solution delivered in a minimal yet friendly manner. The name 'Taptap' was inspired by the visual effect of the chair's wide feet and their arrangement, evoking a rhythmic sound. Putzier summarized the collection in three words: 'Surprising' due to its refined details and flexible use, 'Pure' for its adherence to simple geometric shapes, and 'Friendly' because of its colorful and sympathetic appearance. #FurnitureDesign #ProductDesign #Collaboration #Artu #MoritzPutzier #InteriorDesign #HospitalityDesign #MinimalistDesign

This design dispatch highlights several key happenings and product releases in the world of interior design and art, focusing on the transition into a new season. It begins by exploring RH's Fall 2023 Collection, which aims to redefine true luxury in a market often saturated with superficial claims. Gary Friedman, CEO and chairman of RH, emphasizes that true luxury stems from exceptional craftsmanship and the quality of materials, citing their use of premium European and American White Oak, Walnut, Indonesian Teak, and the detailed construction of their American-made sofas with eight-way hand-tied springs or Italian-made pieces with engineered foam and exquisite tailoring designed for longevity. The collection features global designers like Australian duo Harrison and Nicholas Condos, who contribute natural pieces in European White Oak, including sideboards, bed canopies, and day beds. British designer Oliver Oulton incorporates Belgian Flax Linens into elongated sofas, while American designer Julie Lawrence introduces organically shaped sideboards and tables made from American White Oak. The aesthetic of the collection promotes serenity through light woods and organic lines, devoid of harsh angles and vibrant colors, encapsulating the idea that luxury is defined by thought, creativity, and rarity rather than just price. Next, the dispatch turns to the art world, detailing an opportunity for enthusiasts to acquire a piece from the renowned artist Cecily Brown. For over 25 years, Brown has been celebrated for her abstract expressionist style, with her paintings, often featuring motifs of women, skulls, skeletons, and still-lives, fetching high prices at auctions. Currently, The Metropolitan Museum of Art in New York City is hosting "Cecily Brown: Death and The Maid" until December 3, 2023. This exhibition showcases fifty works from her career. For those wishing to own a piece of Brown's art, a new etching inspired by Jan Brueghel the Elder's 17th-century allegorical series, "The Five Senses," will be available at The Met Store. Edition one of twenty-five will join The Met's collection, with others priced at $8,000, with proceeds supporting the museum's initiatives. The article also introduces a new book from Bulgari, "Beyond Time," celebrating over a century of Bulgari horology. This collaboration with Assouline provides a comprehensive retrospective across 300 pages, featuring contributions from notable friends, ambassadors, and experts of the Maison. A dedicated chapter explores the brand's iconic serpent watch design, which watch collector John Goldberger notes was revolutionary for its combination of wraparound Tubas bracelet with a watch dial. Finally, as the fall season approaches, the dispatch offers a suggestion for entertaining: Sophie Lou Jacobsen's new stemware collection. Inspired by Art Nouveau motifs and the Ecole de Nancy, the collection features glasses morphed into floral designs. While playful, the set maintains an air of sophistication, making it suitable for formal gatherings. The collection is set to launch in October, and readers are encouraged to consider complementary table accessories in preparation for upcoming events. #DesignDispatch #HomeDecor #LuxuryDesign #RHCollection #ArtExhibition #CecilyBrown #MetropolitanMuseumOfArt #BulgariHorology #SophieLouJacobsen #TablewareDesign

Max Nobel, founder of Nobel LA, integrates architecture, interior design, and art collection, emphasizing the synergy between art and living spaces. His philosophy revolves around designing homes that accentuate art pieces without compromising the functional flow of the environment. Nobel believes that art should dictate the mood and atmosphere of a room, with the interior design then building around it. This approach allows for a curated experience where each artwork is thoughtfully placed and highlighted. Nobel's personal collection features a diverse range of artists including Harland Miller, KAWS, and Hajime Sorayama. He describes his collection as having a taste more aligned with New York and Japanese art scenes rather than the local Los Angeles aesthetic. The article highlights how Nobel skillfully embeds these works into various parts of his home, such as enclaves and bookshelves, ensuring they are prominently displayed yet harmoniously integrated into the living area. A significant piece in Nobel's collection is a towering KAWS sculpture, which he acquired 10 years ago and credits with initiating his art collecting journey. His interest in street art naturally drew him to KAWS, an artist known for his Pop art style and deep connections to street culture. Nobel expresses a long-standing desire for larger sculptures by KAWS, noting the artist's unique position in the art world. Another prized possession in Nobel's collection is Hajime Sorayama’s 'Sexy Robot,' a life-sized android encased in glass, which holds a central position in his living room. This particular piece was exceptionally difficult to acquire, as Sorayama is selective about selling his works. Nobel managed to secure it through a Hong Kong Phillips auction, recognizing it as a rare opportunity. He considers the 'Sexy Robot' a definite showstopper that elevates the entire room's ambiance. Nobel emphasizes the importance of timing and patience in art acquisition, advising against rushing purchases and instead encouraging collectors to wait for pieces they truly desire, even if it means a long wait. He notes that some artworks remain in private collections for decades before reappearing on the market. This patient approach has allowed him to build a collection that resonates deeply with his personal tastes and design philosophy. More recently, Nobel has shifted his focus towards commissioning custom pieces. His home now features works by artists like Shawn Huckins and Matt Gondek. An example cited is a humorous artwork by Shawn Huckins, a traditional portrait of Russia’s Tzar Nicholas II overlaid with an Apple low battery symbol. This piece demonstrates Nobel's interest in art that blends historical elements with contemporary innovation. Looking ahead, Nobel aims to add works by abstract painter Devon DeJardin and hyperrealist Cj Hendry to his collection, indicating a continued pursuit of unique and compelling art. #InteriorDesign #ArtCollection #MaxNobel #KAWS #HajimeSorayama #ContemporaryArt #ArtAcquisition #DesignPhilosophy #Sculpture

Belgian designer Casimir marks three decades in the design industry with a new collection of six wooden objects, with another six pieces slated for future release. These initial six items include two consoles, a cabinet rack, a mirror, a side table, and a low table, all crafted from solid oak and walnut, chosen for their ecological qualities. Each piece is a limited edition, signed, and numbered, reflecting Casimir's hands-on approach as a self-described furniture artist who designs and produces his work in his own studio. The designer emphasizes concept over styling or trends, aiming to rethink and question classical furniture through his oeuvre. He values the authenticity and sustainable nature of wood as a material. One notable piece, Cross4, is a customizable console designed to lean against a wall. It incorporates the symbol of a cross, which Casimir explains is a loaded symbol in Flemish culture, traditionally placed above doors to signify welcome and protection. This console is thus intended as a gesture of hospitality at an entrance. CabinetRack2, measuring 120 centimeters wide and 180 centimeters high, showcases an innovative approach to furniture construction. Casimir created a standard cabinet without doors, then sawed it into two equal parts. These parts were subsequently shifted at an angle and glued together, resulting in a rack that can also function as a room divider, demonstrating an "exercise in what you can do with a standard cabinet." Mirror3, another piece in the collection, intentionally restricts the user's view, contrasting with traditional mirrors that offer a full reflection. Casimir drew inspiration from architectural sun blinds, which are horizontal slats used to block sunlight. He reinterpreted this concept by orienting them vertically to limit the reflection to a single viewpoint within a space. The side table, Arch, is unique in the collection for being crafted from walnut wood rather than oak. Its oval-shaped tabletop is cut from a larger rectangular piece of wood, with the remaining material utilized to form the legs. These legs consist of two trusses that cross beneath the oval top, creating a small vault. Plank5, a low table standing 35 centimeters off the ground, features five oak wood planks stacked in a manner reminiscent of a fireplace or campfire, with the plank ends extending at various angles. The final piece of this initial release is Console3, a double-shelved unit supported by three rotatable tripods. Casimir's upcoming six designs to complete the 12-piece collection include three ladders and a cabinet, alongside an exploration of furniture legs, all continuing his work with wood. The designer's ambition for the entire collection is for the pieces to endure for over a century, aligning with the tradition of classical furniture making. He notes the importance of experimentation and intuition in his creative process, where the idea, material, form, and function are deeply interconnected. #FurnitureDesign #WoodenFurniture #OakFurniture #WalnutFurniture #SustainableMaterials #BelgianDesign #ArtFurniture #LimitedEdition

Rachel Rice-Baham, a 41-year-old Air Force veteran based in Denham Springs, finds artistic expression and therapy in her work, which spans digital abstract collage, painting, and furniture faux finishing. Her home reflects her passion for thrifting and DIY, with almost all furniture and decor items sourced secondhand and personally refinished. Rice-Baham emphasizes that creating is a constant necessity for her, serving as an outlet for emotions that are difficult to articulate verbally. She considers art to be a form of therapy. The artist's journey took a significant turn during the COVID-19 pandemic. Previously, much of her creative energy was dedicated to refinishing furniture, a process that involved frequent visits to antique stores, vintage shops, and estate sales. However, the closures of these establishments during the pandemic forced her to explore new avenues for her creative drive. During this period, she transitioned to digital art, transforming thousands of personal photographs from past vacations, textures, and landscapes into digital collages. This new form of expression allowed her to continue creating without needing external resources, proving to be a playful and therapeutic process for her. Born into a military family, Rice-Baham experienced frequent relocation, and painting became a consistent and comforting presence in her life. This early connection to art provided her with a stable foundation and a safe space for self-expression, where she could immerse herself in the canvas or paper without external worries. Her digital artwork, much like the aesthetic of her home, is designed to evoke a sense of relaxation and calm. She views her digital collaging as a form of play and therapy, consistently engaging with her phone—her primary creative tool—even during leisure activities with her husband. Rice-Baham's digital creations are versatile and are applied to a range of products, including prints, pillow covers, phone cases, and drinkware. This diversification is facilitated by her use of print-on-demand services, a strategy she recommends to other creatives to avoid the burden of managing inventory. Despite some internal pressure to define a more distinct artistic style for commercial viability and recognition, she believes that creativity should stem from a deeply emotional and exploratory process, allowing for less control and more spontaneous expression. She sees her current work as a period of exploration, emphasizing the importance of letting go and allowing creativity to unfold organically. #AbstractArt #DigitalCollage #FurnitureRefinishing #DIYHomeDecor #CreativeProcess #ArtistProfile #BatonRougeArt #Thrifting #EmotionalExpression

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

Wayne Enterprises has unveiled a unique furniture collection inspired by the civilian persona of Batman, Bruce Wayne. The collection, which is a collaboration between Warner Bros. Discovery Global Consumer Products and luxury brand innovator Relevance International, aims to offer a glimpse into Bruce Wayne's interior tastes and lifestyle, allowing fans to bring a piece of his sophisticated world into their own homes. The curated pieces range from bespoke furniture to a glossy electric piano and are featured on the Wayne Enterprises website, with occasional event displays. The selection process involved close collaboration with Warner Bros. Discovery Global Consumer Products and consultation with DC Comics to ensure that each item aligned with Bruce Wayne's character and visual aesthetic, particularly as depicted in the Batman movies. The guiding principle was to select items that reflected his known access to the finest of everything, emphasizing luxury, sophistication, and elegance. The collection integrates pieces from esteemed Italian furniture brands such as Formitalia, Makhno, and Baxter. Key items include Baxter’s ‘Greta’ special edition printed chairs, Makhno’s ‘Siaivo’ chairs, and various side tables from Formitalia. These pieces are characterized by a moody ambiance, dark color palettes, and modern silhouettes, consistent with the enigmatic character of Bruce Wayne. Suzanne Rosnowski, founder and CEO of Relevance International, noted that the project caters to both Batman enthusiasts and individuals who appreciate high-quality, limited-edition collectibles. The common thread among buyers is an appreciation for owning unique and artistic pieces. Robert Oberschelp from Warner Bros. Discovery highlighted Wayne Enterprises' objective to curate timeless product offerings that are not tied to any specific era or architectural style, but instead bring elegance and luxury to any home. The goal is to exemplify a refined living space inspired by Bruce Wayne's aesthetic, utilizing a hyper-tailored approach to immerse fans in his bespoke world. The collaboration involved working with Formitalia and Makhno to develop new products specifically for the collection, while also incorporating existing Baxter products that naturally fit the Wayne aesthetic. Each brand selected demonstrates a strong commitment to crafting high-quality home collections, which is a crucial aspect for Wayne Enterprises' home furnishings initiative. Examples of the collection's distinctiveness include a Formitalia footrest with an integrated magazine rack and a tall ‘Wayne Enterprises’ armchair designed by Controvento, which subtly evokes the imagery of Batman's mask. This initiative allows Batman aficionados to blend elements of fiction into their reality by owning furniture that embodies Bruce Wayne's distinctive style. The collection offers an opportunity for fans to enhance their living spaces with items that echo the luxury and mystery associated with the character, making the experience of recreating a 'Wayne Manor' interior accessible through select pieces. The full collection and additional exclusive Bruce Wayne experiences are available for viewing on brucewaynex.com. #BruceWayne #Batman #LuxuryFurniture #InteriorDesign #WayneEnterprises #DesignCuration #PopCulture #CollectibleFurniture

This article provides ten key tips from David Pollack, an Old Master Specialist at Sotheby's New York, on effectively hanging artworks to enhance a living space. The primary advice emphasizes that personal preference dictates the 'correct' way to hang art, as individuals should arrange pieces in a manner that brings them joy. However, Pollack also offers professional insights to optimize the visual impact of artworks within a home. The article differentiates hanging strategies based on the artwork's scale and detail. Intricately detailed and minutely painted pictures, such as smaller works or sketches, are best placed where they can be viewed up close, like on a side wall, desk, or bookshelf. Conversely, large, painterly pieces require more expansive settings, such as above a sofa, mantelpiece, or on a larger wall, to allow their full visual impact to be appreciated. Regarding placement within a home, Pollack suggests hanging cherished artworks in high-traffic areas, including sitting rooms, dens, and bedrooms. These locations ensure both residents and guests have frequent opportunities to view and enjoy the pieces. The article also addresses distinctions in displaying contemporary art versus Old Masters. Contemporary works, often larger, are typically hung as individual statement pieces with ample surrounding space, while Old Masters were traditionally displayed 'Salon Style,' covering entire walls. While this traditional method can be visually rich, Pollack cautions that it is best suited for spaces with high ceilings and large walls, and he expresses a fondness for the intentionally asymmetrical 'gallery hang' of smaller works. Conservation is highlighted as a crucial aspect of responsible art display. The article advises particular care for pieces on wood panels, which are susceptible to warping due to humidity fluctuations, recommending consistent climate control. Proper framing is also presented as a means to create a protective microclimate for delicate works. The integration of different styles and periods is strongly encouraged, with Pollack advocating for blending old and new art as the most effective way to collect and decorate. He notes that such an approach allows for unique connections between seemingly unrelated works, creating interesting and personalized home environments. Regarding framing, Pollack, as an Old Master specialist, offers guidance on traditional frames. He suggests that certain 'old fashioned' frames, like simple, jet-black 17th-century Dutch frames, can appear surprisingly modern and complement various paintings. Traditional gilt frames can also work in contemporary homes, though elaborately carved 18th-century French frames are described as grand statement pieces requiring deliberate placement. The article also touches upon the role of interior designers, acknowledging their value for larger projects while asserting that personal taste should ultimately drive display decisions. Finally, the importance of conservation is reiterated, particularly concerning light exposure, which can damage works on paper or other non-oil-based mediums, though oil paintings are generally more resilient to direct sunlight. The overarching golden rule presented is that 'quality looks good next to quality,' implying that a well-chosen object can hold its own in any domestic setting. #ArtworkDisplay #HomeDecor #InteriorDesign #ArtCollection #OldMasters #ContemporaryArt #ArtConservation #FramingArt #SothebysTips