In Berlin, a Space for Design Experiments (Published 2015)

Berlin, like many urban centers, predominantly features buildings in monochromatic shades of brown, gray, and white. Paul Eis, a Berlin-native photographer and architecture student, initiated a project to introduce color to the city's architectural landscape. His work involves digitally saturating photographs of both prominent and ordinary buildings with a diverse palette of pink, orange, blue, yellow, and other vibrant colors. This transformation turns otherwise mundane brown towers into lively, rainbow-splashed structures, and gray apartment complexes are reimagined with bright yellow balconies, rendering everyday architecture significantly more playful. Eis highlights that cities in Germany and Austria, where he sources most of his images, often showcase modern architecture primarily defined by its shape, lacking in color. He points out that this results in less engaging cityscapes due to a monotonous color scheme. His project implicitly questions whether contemporary architects overly prioritize form over color in their designs. He suggests that if a building's color were considered as significant as its shape, cities globally might display a much broader and more vibrant array of hues. While acknowledging that this perspective particularly resonates with those who appreciate color, he also recognizes that minimalists might find colorless modern buildings appealing for their understated quality rather than deeming them drab. Beyond just high-end or famous architectural works, Eis's project also aims to critique the design apathy in housing developments. He expresses concern over the proliferation of often dull housing estates in cities where developers show minimal interest in architectural aesthetics, particularly in terms of color. Through his work, Eis seeks to draw attention to these overlooked aspects of urban design. The article encourages readers who have an affinity for color to view more of Eis's reimagined photos, suggesting that these vibrant images could offer a fresh perspective, making a stark contrast to what might otherwise feel like a black and white existence. #ArchitecturePhotography #ColorInArchitecture #UrbanDesign #ModernArchitecture #BerlinArt #PaulEis #ArchitecturalCritique #VibrantCities #DigitalArt

Helsinki Design Week 2024, themed 'Underneath,' highlighted Finland's integral approach to design within everyday life, emphasizing a surge of progress driven by design innovation in the capital. The event, held from September 6 to 15, showcased a variety of design-related initiatives and developments across Helsinki. Beyond traditional trade fair exhibits, the week featured explorations of architectural landmarks, including new projects by notable architects like Steven Holl, alongside innovative urban developments such as a new hotel and headquarters predominantly constructed from wood for the forestry company Stora Enso. Discussions also revolved around the planned redevelopment of Helsinki's old harborfront into a new museum quarter, spearheaded by an architectural competition for a Museum of Design and Architecture. The event also served as a platform to introduce new creative directors of established Finnish design brands, signaling a vibrant and forward-looking design landscape. The article touches upon the broader Finnish societal context, noting the country's high ranking in global happiness surveys and highlighting unique social provisions such as free, state-funded hot meals for children under 16 during summer holidays, and an extensive underground tunnel system designed to shelter the entire urban population during a catastrophe, complete with essential services and amenities for three years. While acknowledging these remarkable social aspects, the piece also addresses the economic challenges facing Helsinki, particularly in its tourism sector due to geopolitical events and the impact on air travel, which has affected the city's role as an Asian transit hub. Despite these hurdles, a director from the digital design agency Reaktor explained Finland's agile transition from manufacturing to a technology-driven economy, positioning the country as a laboratory for brand development. Key highlights from Helsinki Design Week 2024 included a significant focus on education and research at Aalto University. The university, formed by the merger of business, technology, and design institutions, inaugurated a new building dedicated to AI, augmented reality, brain research, and communication. Its 'Designs for a Cooler Planet' exhibition showcased student work on sustainable solutions, such as textiles made from recycled banknotes, alternative packaging, and wood-based sequins, underscoring the university's role as a future-oriented research hub. Iittala, under its new creative director Janni Vepsäläinen, presented a captivating 'Kaamos' exhibition, featuring ten monumental glass sculptures that explored the interplay of light and glass, celebrating the brand's heritage while embracing a dynamic future. The Helsinki Design Museum, recently merged with the Museum of Finnish Architecture, hosted 'FIX: Care and Repair,' an exhibition that thoughtfully examined the cultural impact of maintenance and repair on belongings and buildings, coinciding with plans for a major new design and architecture museum. Further enriching the design week was the Finnish Design Shop's launch of its own-brand collection, 'Pelata,' celebrating its 20th anniversary with a range of playful wooden objects for children and adults, emphasizing engagement over mere aesthetics. The Habitare trade fair, while primarily serving the Finnish market, showcased emerging talents like Myceen, which explores mycelium as a building material, and Teemu Vidgren, who reinterprets traditional Finnish vernacular objects. Lastly, the upcoming Ruoholati Playground, a collaboration between children's author Linda Liukas and Helsinki's chief design officer Hanna Harris, was introduced as the world's first computer-themed playground. This innovative space aims to demystify digital culture for children through interactive play, aligning with Alvar Aalto's philosophy of learning through engagement. #HelsinkiDesignWeek #FinnishDesign #DesignInnovation #SustainableDesign #AaltoUniversity #Iittala #HelsinkiDesignMuseum #UrbanDevelopment #PlaygroundDesign #Architecture

The article highlights five Copenhagen-based creatives who are redefining Danish design by blending traditional aesthetics with contemporary approaches. These designers are characterized by their respect for heritage, openness to new ideas, and a focus on pushing creative boundaries, moving beyond the well-established minimalist, muted, and naturalistic style often associated with Scandinavian design. They are introducing fresh perspectives while maintaining a strong connection to craftsmanship and human-centered design principles. Helle Mardahl, a former fashion designer, transitioned into creating colorful blown-glass objects, including lamps, tableware, and decorative pieces. Her work is notable for its vibrant colors and whimsical forms, reminiscent of candy and childhood treats, which challenges the traditional muted palette of Danish design. Mardahl’s experience studying abroad in London influenced her appreciation for Copenhagen and inspired her to incorporate bolder aesthetics, proving that exposure to diverse cultures can enrich local design. Architect Søren Pihlmann operates his studio with an unconventional approach, emphasizing the use of existing building elements in renovations. His methodology avoids fighting against a structure's inherent potential, instead allowing the building to guide the design process. Pihlmann's work, which spans from industrial breweries to private homes, focuses on understanding materials and their stories, advocating for a shift away from purely conceptual architecture towards a more tangible, material-driven practice. He also questions profit-driven trends, prioritizing sustainable and respectful renovation. Thomas Woltmann, a furniture designer, focuses on bringing conceptual artistic thinking into relatable, functional design. His award-winning Re-C chair, made from recycled wood from an old church, exemplifies his commitment to using regional and recycled materials, re-establishing a connection between humans and the physical objects in their lives. Woltmann believes in drawing inspiration from Denmark's rich craft history to address contemporary challenges, such as the climate crisis, by focusing on natural materials, longevity, and craftsmanship, echoing the spirit of past Danish design masters while adapting to modern needs. Interior designer Jessica Vedel, with a background in fashion and photography and international experience in Berlin, London, and New York, blends Nordic minimalism with cosmopolitan elegance. Her designs are characterized by bespoke furnishings, intricate architectural details, and a keen sense of form and scale. Vedel's work is influenced by her Danish roots and the tradition of quality materials and architecture but incorporates more volume and layering, reflecting her global exposure. She also designs furniture, collaborating with brands and developing custom pieces, always driven by an intuitive creative impulse. Danielle Siggerud, an architect from Oslo, initially considered a career in medicine due to an interest in helping people, but her awareness of how spaces affect human feelings led her to architecture. Her firm specializes in both new builds and historic renovations, applying a "refined minimalism" that emphasizes materiality and tactility. Siggerud's approach, refined under John Pawson, considers the routines and situations of inhabitants, focusing on creating sensory experiences through thoughtful integration of elements like lighting, doors, and surfaces. Her work, which extends to furniture design, aims to elevate the everyday and interact with the past through a deep appreciation for human interaction with built environments. These five creatives collectively represent a dynamic evolution in Danish design, honoring its foundational principles while boldly exploring new directions. #CopenhagenDesign #DanishDesign #CreativeInnovation #HomeDesign #ArchitecturalRenovation #SustainableDesign #FurnitureDesign #InteriorDesign #MaterialExperimentation

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

Universal Design Studio (UDS), an architectural practice founded in 2001 by Edward Barber and Jay Osgerby, is celebrating two decades of groundbreaking work. Documented in their new book, 'Inside Out' (Phaidon), the studio’s success is attributed to its collaborative spirit, involving over 240 individuals throughout its history. Unlike traditional design firms that emphasize a singular artistic vision, UDS operates as an “experimental playground” where multiple thinkers contribute to a diverse portfolio of projects. These projects span retail spaces for luxury brands like Stella McCartney and Mulberry, hospitality ventures such as the Ace Hotel in Shoreditch and a cocktail bar for Fortnum & Mason, exhibition designs for the V&A Museum and Frieze Art Fair, and workspaces for IMB and Jimmy Choo. Barber and Osgerby initially established UDS to differentiate their architectural and interiors work from their product and furniture design studio. They recognized that while a multidisciplinary approach was common in Italy, it was less understood in the UK. This led them to create a new division focused on architecture and interiors, with a strong emphasis on collaboration. The studio maintains an egalitarian approach, where no single author dictates a project's direction. Instead, teams work collectively, valuing diverse perspectives to break new ground and challenge conventional thinking in each sector. UDS is also known for its commitment to reusing and repurposing existing buildings, prioritizing how spaces are utilized and how they serve their communities over demolition and new construction. Despite being an architectural practice, Osgerby notes that they primarily focus on interior and adaptive reuse projects rather than constructing new buildings from the ground up. Jason Holley, director of UDS, explains that the studio's principle is to work 'from the inside out,' focusing on human experience and the specific context of a building. This ensures that every design solution is tailored to its site and users, rather than adhering to a signature stylistic approach. Key projects illustrate UDS's impact. The Stella McCartney stores in New York and London, completed in 2003, were early successes, demonstrating the seamless integration of bespoke product, industrial design, and interior architecture. The custom-made tile used in these stores exemplifies the studio's philosophy of bringing the detail of furniture design to architectural spaces. In 2012, the interactive Google Web Lab at the Science Museum showcased UDS's ability to blend physical and digital worlds, creating an engaging space for technological exploration and storytelling. The Ace Hotel in Shoreditch, completed in 2013, marked a pivotal moment for both the studio and the surrounding neighborhood. UDS, despite having no prior hotel experience, embraced the challenge and collaborated closely with the Ace team. This project, which blended hotel functionality with local culture and casual workspace, became a significant contributor to the area's identity. This success led to a long-term partnership with The Office Group, for whom UDS designed Tintagel House and other workspaces. Looking ahead, co-director Paul Gulati identifies future areas of focus, including improving experiences in healthcare for the aging community and revitalizing high streets, leveraging their expertise in creating community-focused spaces. Mobility and electric vehicles are also areas of interest. Holley emphasizes the studio's goal of creating spaces that people deserve, seeking clients and collaborators who share their passion for openness and innovation. Osgerby reflects on the studio's core aim as recreating a 'campus atmosphere,' reminiscent of his time at the Royal College of Art, where interdisciplinary collaboration fostered productive and exciting exchanges of ideas. #UniversalDesignStudio #ArchitecturePractice #InteriorDesign #CollaborativeDesign #SustainableDesign #EdwardBarber #JayOsgerby #HospitalityDesign #RetailDesign

This week, Paris is hosting a diverse array of art and design events, with the return of Art Basel Paris and Design Miami Paris for their third editions. The French capital's historical venues, including _hotels particuliers_ and landmark apartments, are showcasing collectible design that explores experimental and multidisciplinary approaches, from textile-like treatments of solid surfaces to the integration of music with design. This roundup highlights the most compelling design exhibitions available to explore during this period. India Mahdavi presents a triple bill of collaborative exhibitions. Her Project Room #20 features 'Parenchyma,' a solo exhibition by studio Kauani, displaying cactus-shaped sculptural lights, an intimate study of xerophytic plants, created by Inés Llasera and Inés Quezada. Her Tiny Room gallery hosts an exhibition of anthropomorphic chairs by Serban Ionescu, reflecting his Balkan origins and an improvised approach to wood. Additionally, Mahdavi collaborates with culinary collective We Are Ona for _Rose C'est La Vie_, a flower-clad restaurant pop-up with Mexican chef Jesús Durón, whose interiors evoke Mahdavi's iconic APT club in New York. Perrier Jouët returns to Maxim's for the second year with its 'Parenthèse Belle Époque,' transforming the legendary Art Nouveau venue with stained glass windows, Émile Gallé anemones, and vintage posters. This event includes exclusive gastronomic pairings by Maxim's chef Yann Meinsel and Maison Belle Époque executive chef Sébastien Morellon. Charles Zana unveils his new _In Situ_ furniture collection within a 500-square-metre Directoire apartment, formerly home to the Swedish Circle. The exhibition presents a 'fantasy' interior that mixes Zana's works to create an emotional experience rather than just an aesthetic. The display also features a coffee bar by pastry star Yann Couvreur and a soundtrack by Sébastien Tellier and Ray Mang. The Contributions design festival, curated by Anna Caradeuc and Élise Daunay, hosts its second edition, intertwining design and music through five installations. Highlights include Nifemi Marcus-Bello's M2 Shelf with an integrated speaker, in collaboration with La Boîte Concept, and Italian musician Andrea Laszlo De Simone's audiovisual piece _Una Lunghissima Ombra_, accompanied by a natural wine bar and micro-cinema by Harold Mollet and the design collective Metals. The inaugural Salon des Nouveaux Ensembliers, held at the Galerie des Gobelins under the patronage of France’s manufactures nationales (Sèvres and Mobilier national), brings together a new generation of interior architects. Under the theme ‘L’Ambassade de demain’ (the embassy of tomorrow), ten architect-decorators reinterpret diplomatic spaces, focusing on how design can embody representation, openness, and exchange while addressing ecological and social responsibility. Salon 94 Design showcases Massimiliano Locatelli and Fabio Zambernardi's 'Nullus Locus,' a collection of objects featuring embroidery on timber, transforming wooden vessels and furniture into unexpected canvases for floral designs, realized with the expertise of Graziano Ricami. Additionally, 'Un Souffle De Vent' by Yves Salomon Editions X Dimorestudio presents an immersive installation inspired by Georges Perec’s novel _Les Choses_, emphasizing contemplation of objects through tactile surfaces and a rich material palette. Nilufar and Métaphores present 'In The Mood for Touch,' an immersive installation exploring the tactile and emotional potential of interiors through their respective design and textile works. CØR Studio, Harold Mollet, and Monument present 'Im Zwischen,' a group exhibition exploring the 'in-between' as a bridge between historical and contemporary design, featuring a 10-metre light wall by François Chapuis and iconic designs by Ron Arad and Ingo Maurer. LVH Art showcases Donald Judd's minimalist work within a grand Parisian residence, providing a compelling contrast with ornate French interiors. Finally, Invisible Collection and Féau Boiseries exhibit 'Period Rooms of the Future,' where previously unseen Art Deco elements form the backdrop for contemporary pieces, bridging the cultural continuity between the 1920s and today's collectible design. Galerie Patrick Seguin hosts 'Saint Laurent – Charlotte Perriand,' where Anthony Vaccarello has selected and recreated four of Perriand’s lesser-seen works, produced in limited editions from archival drawings and original models. #ParisDesignExhibitions #ArtBaselParis #DesignMiamiParis #InteriorDesign #CollectibleDesign #IndiaMahdavi #CharlesZana #ContemporaryArt #FrenchDesign

This article details a unique mini-home, listed on the luxury home rental brand Plum Guide, which operates as a floating artist studio on the Spree River in Berlin. The structure was entirely hand-built by its owner, Claudius, with the intention of providing guests a serene environment to connect with nature, offering an alternative lifestyle away from the urban bustle of Berlin. The Plum Guide describes the experience of waking up in this houseboat as akin to opening one's eyes to an 'urban utopia.' Inside the compact floating home, a skylight is strategically placed above the platform bed, allowing occupants to gaze at the stars as they fall asleep. The exterior deck is equipped with an herb garden, a BBQ grill, and a sound system, enhancing the outdoor living experience. The interior features a fully equipped kitchen, a curated collection of books, and a portable Wi-Fi router. The decor, characterized by lively plants and hanging light bulbs, presents a mid-century aesthetic suitable for a wide range of visitors. The construction of the floating home emphasizes sustainability and craftsmanship, incorporating handcrafted furnishings and being built upon 200-year-old wooden panels. This design choice caters to environmentally conscious guests seeking a unique stay. It is important to note that the 'floating island' is not presented as a luxurious escape in the traditional sense, as it includes practical amenities such as a dry compost toilet and a shared sink for both the bathroom and kitchen areas, highlighting its rustic and eco-friendly ethos. The mobile nature of the house allows it to adapt to different seasons and environmental conditions. During the summer months, the house is anchored in the middle of a lake, offering a distinct waterside experience. In contrast, for the winter season, it is stationed on the outskirts of Friedrichshain, providing a different perspective of its Berlin surroundings. This adaptability ensures a varied experience for guests throughout the year. Plum Guide, the platform offering this unique rental, provides a selection of curated vacation homes across various locations, including the U.S., Europe, England, and Tel Aviv in the Middle East. The article positions this floating artist studio as an appealing option for those seeking an unforgettable and environmentally conscious getaway, promising an experience that blends natural immersion with urban proximity. The detailed description of the amenities and the unique characteristics of the home suggest a focus on a mindful and distinctive travel experience. #FloatingArchitecture #ArtistStudio #Berlin #HandBuilt #EcoFriendlyLiving #MiniHome #SustainableDesign #PlumGuide #Houseboat

Boston City Hall, a prominent example of Brutalist architecture, is often perceived as an 'eyesore' due to its stark concrete design. However, a group of experimental artists from the Boston-based collective Mobius is transforming this perception through an elaborate art installation. Marilyn Arsem, a Mobius member, expresses awe at the building's vast, open lobby and its unique architectural features, including windows soaring nine stories high. She notes the striking contrast between the building's imposing exterior and the intriguing details within. The Mobius collective is preparing for a May 25 installation that will involve 13 artists working in various mediums, aiming to breathe new life into the solemn gray interior. Jane Wang, another Mobius member, details some of the planned performances. One piece by Joanne Rice and Tom Plsek will feature a trombone and tap shoes, with Plsek starting on the fifth floor, creating an acoustic interplay throughout the building. Performance artist Sandrine Schaefer will manipulate the speed of the escalators to alter visitors' sense of time. Wang herself will be knitting an abstract wire sculpture over four hours and will project a video, a collaborative effort of 95 artists and 21 composers, onto a lobby wall. Wang admits that while she still finds the building aesthetically challenging, her involvement has fostered a sense of fondness for it, recognizing its unique personality and pockets of beauty. She describes it as an "ugly, beautiful thing," highlighting the complex emotional response it evokes. Patty McMahon, the city registrar who has worked in Boston City Hall for nearly 30 years, is well aware of the building's polarizing reputation, often hearing it described with terms like "wet cement" and "hideous." She acknowledges the impracticalities of the Brutalist design, such as the difficulty of hanging decorations on concrete walls, exposed wiring, and the lack of windows on her floor. McMahon notes that different administrations have approached the building's challenges differently, with the current Walsh administration focusing on making it more comfortable, pretty, and light. This effort is part of the 'Rethink City Hall' initiative, a city planning project aimed at reimagining the building's use and public perception. Chris Grimley, a historical consultant from the design firm over,under, is involved in the 'Rethink City Hall' project. He explains that the building's original design was intended to promote openness and accessibility, allowing people to move freely through its various spaces, including an elevated courtyard with skylights. This design reflected high-minded democratic ideals, part of a larger urban renewal effort to revitalize downtown Boston and restore public trust in government. However, neglect and modern security concerns, particularly post-9/11, have led to restricted access, reducing the building to a single entry point. Grimley believes the civic spirit of the building can still be revived, which is where the Mobius artists play a crucial role. Artist Jesse Kaminsky describes his contribution: a "tentacular, low-level inflatable sculpture" made of colorful Tyvek. This piece, inspired by early science fiction, will undulate with a fan and seep over a ledge, introducing a sense of comical unease into the building's severe environment. Kaminsky aims for his soft, floppy, and forgiving sculpture to contrast with the building's inherent order and severity. He views the project as an opportunity to introduce something uncertain and acknowledges the possibility of failure, which he considers vital for the creative and even municipal process. For the Mobius artists, Boston City Hall, despite its perceived flaws, has become a rich source of inspiration, demonstrating that even a controversial structure can be reinterpreted and found worthy of appreciation. #BostonCityHall #BrutalistArchitecture #ArtInstallation #MobiusCollective #UrbanRenewal #ArchitecturalRedesign #PublicArt #CityPlanning #CreativeProcess

Terrasza, a new 'phigital' platform dedicated to outdoor living design, launched its inaugural event in Barcelona as part of Barcelona Design Week (BDW) from October 16th to 27th, 2023. This event aligns with BDW's theme, 'Design for Human Future,' and the United Nations' 17 Sustainable Development Goals (SDGs), specifically promoting SDG number 18, which broadly covers sustainability, well-being, responsible strategies, social impact, techno-humanism, and diversity. Guendalina Perelli, the founder of Terrasza, initiated the platform to address the evolving relationship between individuals and nature, particularly amplified by the pandemic and climate change. She observed a growing recognition of the importance of outdoor living spaces, leading many indoor furniture companies to venture into outdoor collections. However, a dedicated event or comprehensive online platform for exterior design, encompassing all product categories for outdoor spaces, was lacking in the market. Terrasza aims to fill this void by providing a dynamic space for dialogue and contemplation, connecting companies, professionals (architects, designers, researchers, experts), and artists. It seeks to integrate the best in design and production for outdoor living into a single 'online and offline container,' including itinerant events. The choice of Barcelona for the launch was strategic, as the city is renowned for its contemporary architecture and open-space designs that foster community engagement. Perelli noted Barcelona's paradigm shift where design and architecture directly influence social behavior and are tangible values for residents and tourists alike. The city's meticulous attention to aesthetic and functional quality in urban furnishings, lighting, sidewalks, and green spaces made it an ideal location. What distinguishes Terrasza from existing events is its exclusive focus on outdoor living and its transdisciplinary approach. The platform's primary goal is to foster synergies, dialogue, and reflection on ecological, lifestyle, and creative challenges. This innovative perspective aims to establish outdoor design as a distinct category in thought and market, highlighting all entities involved in the global outdoor living sector. Terrasza is designed to be both a 'business to buyers' event and a platform for professionals to share their expertise, experiences, achievements, and future concerns. This dual approach acknowledges the broad appeal of design, extending beyond professionals to the general public, as observed during events like Milan Design Week. The outdoor furniture market is experiencing significant growth, with a global valuation of $45.08 billion in 2020, projected to reach $66.55 billion by 2028. Key trends in this market include a steady recovery after the 2020 downturn, with strong growth in regions like the United States, Canada, China, France, and Germany. Consumers increasingly prefer environmentally friendly materials, with wood accounting for approximately 55% of material usage and natural fabrics showing a projected annual growth rate of 4-5% until 2027. Resins and metals, making up 15% and 10% of the market respectively, are chosen for their durability, lightweight properties, low maintenance, recyclability, and aesthetic appeal. The residential market holds the largest sales share at 60%, while the hospitality sector is also growing. Dining sets are expected to be the top-selling category, projected to cover 48% of the U.S. outdoor market by 2027. Research identifies increased affordability, rising demand for outdoor-oriented travel, new outdoor-conscious urban real estate developments, a renewed desire for outdoor living and shared natural spaces, and the availability of multichannel shopping options as key growth drivers. #OutdoorLiving #ExteriorDesign #PhigitalPlatform #BarcelonaDesignWeek #SustainableDesign #FurnitureDesign #BiophilicDesign #DesignEvents #LifestyleDesign

Gilles Retsin's architectural proposal for a new annex of the Helsinki National Museum introduces a design concept rooted in both primitive form and advanced technological manufacturing. The central element of this proposal is a 'primitive shed,' directly referencing traditional Finnish boathouses, yet reimagined through contemporary fabrication techniques. This shed is constructed from chunky, robotically manufactured, modular building blocks made of cross-laminated timber (CLT). The design departs significantly from conventional construction methods, particularly concerning its gabled roof. Instead of typical roofing, the structure comprises large-scale CLT blocks assembled into an extra-thick A-Frame, supported by a minimal number of columns. This approach emphasizes both modularity and a degree of controlled irregularity in the overall shape, with elements arranged in various directions to ensure structural strength. The resulting form is intended to be a 'silent icon,' harmonizing with the existing museum's architecture. Key to the project's innovative nature is its production process. The CLT sheets, locally sourced in Finland, are prefabricated off-site. Industrial robots or advanced computer-controlled cutting machines are used to cut and slice these sheets. Subsequently, the cut sheets are assembled into the building blocks and then transported to the construction site using standard trucks. This method aims to streamline the assembly process on-site, reduce construction time, and contribute to a more sustainable and lean production chain. Beyond the shed, the proposal incorporates two additional primitive shapes: a 'Square' and a 'Mound.' These elements are designed to integrate with the surrounding park and extend the existing National Museum's presence. The shed houses the main public functions of the new annex, including the lobby, exhibition spaces, a restaurant, and a shop. The Square, located underground, offers exhibition and event space, and its above-ground surface is envisioned as a versatile area for concerts, gatherings, and festivals. The Mound, positioned behind the shed, adds another foundational shape to this collection of architectural primitives. This comprehensive proposal by Gilles Retsin establishes a new axial relationship between the shed, the mound, and the existing museum. This connection further extends to include Finlandia Hall across the street, creating a cohesive architectural and urban landscape. The project highlights the potential of combining archetypal forms with cutting-edge robotic fabrication to create sustainable and contextually sensitive architectural solutions for modern cultural institutions. #Architecture #RoboticManufacturing #MuseumDesign #SustainableDesign #CLTConstruction #ModularArchitecture #HelsinkiNationalMuseum #GillesRetsin

Milan Design Week transforms the city into a global design hub, attracting attendees to both Salone del Mobile and Fuorisalone. This year's event showcases a diverse range of installations, highlighting innovative approaches to design, lighting, and materiality. Atelier Biagetti, a recurring favorite at Fuorisalone, presents "The King," an exploration of obsessions inspired by Elvis Presley. Their installation reimagines a fantastical living room featuring "The King Sofa," a modular piece accompanied by guitar cases cleverly reinterpreted as tables with intricate Ravenna mosaics. This piece exemplifies their propensity for the impossible and their unique artistic vision. Ross Gardam, an Australian lighting designer, offers "Transcendence," an exhibit focused on the allure of illuminated glass. Gardam, known for creating meditative moods with his fixtures, demonstrates his broad talents and deep fascination with glass's ability to transcend physical boundaries. The installation promises a dynamic curation of luminaires, showcasing the material's unparalleled qualities. Giopato & Coombes, Treviso-based lighting masters, unveil "18 Pockets" after six years of dedicated research. This exhibit provides a glimpse into their creative process, highlighting the magical qualities of the immaterial. Their previous fixtures are transformed into 18 unique luminaires through a complex system of weight and balance, creating charming and poetic combinations. Galerie Philia's "Desacralized" exhibition takes place in a deconsecrated 11th-century Milanese church, fittingly exploring the theme of desacralization. Over 20 artists from the gallery's roster contribute to this unique setting. Notable pieces include Studiopepe's octagonal marble side table, inspired by Italian baptisteries, Kar Studio’s chair, drawing inspiration from ancient Chinese Shang Dynasty script, and a monumental chandelier by Morghen Studio, designed to offer a transformative experience of light within the historic space. SolidNature returns with "Beyond the Surface," an OMA-designed installation that metaphorically connects quarrying stone with the act of dreaming across seven distinct rooms. A highlight is Sabine Marcelis’s lustrous table, an ombré glass coffee table anchored by impressive stone blocks, demonstrating her experimental approach to materials. Objects of Common Interest, composed of Eleni Petaloti and Leonidas Trampoukis, presents "Poikilos." Inspired by ancient Greek references to iridescence and insights from Romanian artisan Ovidiu Colea, their ethereal objects and tables with opalescent finishes and sinuous curves inject energy into the Nilufar Depot. Loewe Chairs, under Jonathan Anderson's direction, reinterprets chairs into distinctive totems through an emphasis on texture, personality, color, and weaving. The display integrates materials close to Loewe’s brand identity, such as leather and raffia, with unexpected techniques like incorporating thermal blankets, elevating the humble stick chair into a canvas for elaborate woven decoration. Suchi Reddy, founder of Reddymade Architecture and Design, collaborates with Lexus on "Shaped by Air," an installation focused on carbon neutrality. Visitors navigate a forest of Matisse-like forms to discover a life-sized interpretation of the Lexus Electrified Sport, designed to evoke the sensation of being shaped by air. Lastly, "Bar Flora" is a collaboration between Sophie Lou Jacobsen, Nick Ozemba, and Felicia Hung of In Common With. Building on their Flora Collection, which employs Venetian glassmaking techniques to mimic natural forms, this installation transforms Palinurobar into a floral oasis. It introduces two new additions, including a sandblasted amber colorway, further enhancing their partnership. Byredo, known for its unconventional approach to fragrance, showcases "Bal D’Afrique by Dozie Kanu." Founder Ben Gorham teamed with Portugal-based artist Dozie Kanu to capture the essence of the beloved fragrance through a showcase that merges Kanu's unique objects with photographic negatives from Adjoa Armah’s _saman archive_, creating a multi-sensory experience that extends beyond traditional perfumery. #MilanDesignWeek #DesignInstallations #Fuorisalone #LightingDesign #FurnitureDesign #MaterialInnovation #CollectibleDesign #ArtAndDesign

The article discusses the architectural installation "Spirit of the City" by London-based United Visual Artists (UVA) at A/D/O in New York, presented during New York Design Week. This installation is a collaboration with Mini, hosted in their innovative creative space, A/D/O. The primary goal of the installation is to offer a reflective experience within the dynamic urban environment, metaphorically and physically mirroring its surroundings and New York City at large. The installation consists of 9-foot-high modular columns that revolve, creating an immersive experience for visitors. The rotation patterns are not arbitrary; they are based on extensive research into human activity within the city. This research allowed UVA to develop a 24-hour algorithm that dictates the movement of the columns, transitioning from tranquil rhythms to more urgent, dynamic movements. As visitors navigate the space around these colossal totems, they can observe subtle shadows cast onto the ground, forming intricate, poetic patterns that respond to the kinetic energy of the columns. The surface of the columns themselves presents varying perspectives, shifting from serene sky blues to the grittier, industrial aesthetics of A/D/O's creative hub. This visual transformation further emphasizes the interplay between the installation and its urban backdrop. UVA, founded in 2003, is known for its art practice that integrates technology to create experiences that often extend beyond conventional physical boundaries. Their previous works have been showcased globally in prestigious institutions such as the Victoria and Albert Museum and YCAM in Japan. Matt Clark, founder of UVA, poses a fundamental question through "Spirit of the City": do human activities shape urban landscapes, or do urban landscapes, in turn, define human activities? This philosophical inquiry underpins the interactive and reflective nature of the installation. A/D/O itself, located in a converted warehouse in Brooklyn, opened the previous year, featuring a diverse array of design-focused retail, bars, and restaurants, aligning with Mini's broader design agenda. Mini's head of brand strategy and business innovation, Esther Bahne, states that Mini believes in design's capacity to foster a more humane world. A/D/O initially launched with Design Academy, a three-day festival for professional designers to explore cultural themes. "Spirit of the City" marks the space's first major showcase for NYCxDesign since its opening and was on display until 2 September. The installation, through its thoughtful design and interactive elements, invites contemplation on the symbiotic relationship between people and their urban surroundings. #NewYorkDesignWeek #ArchitecturalInstallation #UnitedVisualArtists #UrbanEnvironment #AdoSpace #MiniCollaboration #KineticArt #PublicArt

The TEDNYC Design Lab hosted a night of talks at TED HQ in New York City, featuring six speakers who delved into the intricacies of design. The event, curated by Chee Pearlman with content producer Cloe Shasha, explored the hard work and creative process behind exceptional design across various disciplines. Topics ranged from urban architecture and the impact of cityscapes to the power of images, accessible design, and the use of data in a humanistic approach. Pulitzer-winning music and architecture critic Justin Davidson initiated the discussions by addressing the monotony of modern cities. He highlighted the prevalence of steel and glass buildings, which, despite their aesthetic appeal and practicality, have led to a simplification of urban architecture. Davidson argued that the rejection of traditional materials like wood, sandstone, and marble diminishes the sensory experience of a city. He emphasized that buildings define public spaces, citing examples like Plaza Mayor in Salamanca and Place des Vosges in Paris, which draw people in, contrasting them with glass towers that tend to alienate. Davidson advocated for an urban architecture that embraces the full spectrum of human experience, rather than defaulting to glass, which can create a cold and disquieting environment. Françoise Mouly, art editor for The New Yorker, then discussed the power of an image to capture historical moments. She traced the magazine's iconic "Eustace Tilley" cover, originally a playful jab at Jazz Age aristocrats, and how it has evolved to reflect contemporary events. Mouly underscored the importance of a free press and the role of artists in contributing to cultural dialogue through their work, demonstrating how simple ink and watercolor can encapsulate significant social and political narratives. Educator and fashion blogger Sinéad Burke brought attention to the often-overlooked aspects of accessible design. As someone with achondroplasia, Burke shared her firsthand experiences with designs that hinder independence, such as the height of bathroom stall locks or limited shoe sizes. She challenged the conventional understanding of accessible spaces, arguing that many are inadequately designed and can even inflict vulnerability. Burke's talk urged a reevaluation of design principles to be more inclusive and considerate of diverse user needs. The event also featured a musical performance by Sofi Tukker, who captivated the audience with their hits “Hey Lion” and “Awoo.” The duo showcased their unique “Book Tree,” an instrument crafted from actual books that produces percussive beats, highlighting the intersection of design and musical innovation. Giorgia Lupi, co-founder of the data firm Accurat, explored the challenges of data representation. Reflecting on past political events where data failed to predict outcomes accurately, Lupi stressed that limited or skewed information can distort reality. She introduced the concept of "data humanism," advocating for the inclusion of empathy, imperfection, and human qualities in how data is collected, processed, and displayed. Lupi argued that data alone cannot represent reality and that human stories are essential to transform abstract numbers into something relatable and meaningful. Architect Siamak Hariri discussed the design of sacred spaces, focusing on his work on the Bahá’í Temple of South America in Santiago, Chile. Hariri elaborated on his endeavor to create a structure that evokes a sense of the ineffable through its interaction with light throughout the day. He described the meticulous process of sourcing materials, such as stone from Portuguese quarries, to achieve a profound architectural experience, culminating in the temple's splendid opening. Finally, designer Michael Bierut shared a story about the unintended consequences of design. He recounted his work on rebranding libraries in New York City public schools for the Robin Hood Foundation, where his initial task of creating a logo evolved into a broader initiative. By collaborating with architects, photographers, and artists, Bierut helped transform library spaces with murals and art installations. He discovered that his involvement went beyond a mere logo, contributing significantly to bringing energy, art, and a renewed sense of learning to school libraries, inspiring both librarians and students. #TEDNYCDesignLab #ArchitectureCritique #UrbanPlanning #AccessibleDesign #DataHumanism #SacredArchitecture #DesignThinking #NewYorkerCovers #SofiTukker

The Metropolitan Museum of Art's Watson Library showcases an international array of architecture books, focusing on the styles and philosophies prevalent in the 1920s and 1930s, including Bauhaus and Art Deco. These selections illustrate a significant period of innovation in architectural design, color theory, and interior decoration. The exhibit highlights how architects and designers of the era explored new aesthetic principles and applied them to various building types, from residential homes to grand public spaces. One featured book is a German handbook from 1929, which serves as a guide to Bauhaus design and color theory. It delves into the psychology of color, its impact on spatial perception, and the aesthetics of house surfaces, alongside typography. The handbook's plates, characterized by muted colors, function as color charts, perspective views for house plans, and guides for exterior paint colors, embodying the distinctive Bauhaus style. This publication underscores the era's focus on integrating art and craftsmanship with functional design. Another German publication, "Farbige Gestaltung durch Keimsche Mineralfarben" from 1929, is a polychromatic booklet showcasing vibrant exterior paint products. It illustrates these paints applied to whimsical, imaginary building facades that span industrial, residential, Classical, modern, Gothic, and Baroque architectural styles. This demonstrates the wide-ranging application of color in architectural expression during this period, moving beyond simple utility to artistic representation. The display also includes "Architektonisches Gestalten" (1933), a German architectural book dedicated to Rudolf Steiner and the Anthroposophical Society. This volume focuses on the second Goetheanum, their recently completed headquarters designed by Steiner, and the work of other architects in his circle across Germany, the Netherlands, and Switzerland. The book features essays, floor plans, and black-and-white lithographs of interiors and exteriors, offering multiple views of the Goetheanum campus, notable for its unique rounded forms and absence of right angles, reflecting Steiner's distinctive architectural philosophy. Polish Art Deco architecture is represented by an issue of "Rzeczy Piękne," published between 1925 and 1932 by Kraków's Museum of Science and Industry. This specific volume centers on the Poznań Exhibition of 1929, an annual industrial fair. The publication's distinctive cover and numerous lithographs and cyanotypes showcase the Art Deco period, featuring pavilions representing municipal and manufacturing interests. These include bentwood furniture from Thonet, bookbinding by Piotr Grzywy, and metalware and decorative items from the Museum of Science and Industry's collection, highlighting the era's decorative arts and industrial design. Finally, the exhibit presents "Le Lido des Champs-Elysées," a glamorous advertising booklet from 1928 for the private Parisian club designed by René F. Berger. Inspired by the Lido of Venice, the club aimed to bring the resort's amenities and style to Paris, attracting European royalty and luminaries. Black-and-white photographs within the booklet highlight the club's Art Deco decor, including the swimming pool area, marble bar, dining areas, gaming rooms, pergolas, Turkish baths, and beauty parlor. Murals by Carlo Cherubini adorn the club, and the embossed cover features gilded lettering and a colored engraving of the pool area, capturing the opulence and distinctive lighting of the period. This publication exemplifies the use of Art Deco in creating luxurious and sophisticated interior spaces. The Watson Library's holdings extend to contemporary architects like Norman Foster, Zaha Hadid, Herzog & de Meuron, and Renzo Piano, indicating a continuous interest in architectural evolution. #ArchitectureHistory #ArtDeco #BauhausDesign #ArchitecturalBooks #InteriorDesign #ColorTheory #RudolfSteiner #MuseumExhibition #MetropolitanMuseumOfArt

This article details the transformation of a 1,700-square-foot loft in a century-old industrial building in Brooklyn, New York. Designed by Hormuz Batliboi of Batliboi Studio for Valerie Tsvetkova, the two-bedroom, two-bath residence blends historic industrial elements with a modern, playful aesthetic. The design process began by embracing the loft’s original character as a former manufacturing site. Hidden timber beams and steel joints, discovered during renovation behind a dropped ceiling, were intentionally exposed and integrated into the design, serving as visual anchors and contributing to the space’s authentic industrial feel. Initially, the loft presented challenges typical of converted spaces, including disjointed utilities and an inefficient kitchen layout. Batliboi addressed these issues by centralizing the utility infrastructure and strategically raising the floor in certain areas. This thoughtful alteration enabled a seamless integration of the kitchen into the heart of the home, optimizing both functionality and flow within the space. The renovation showcases an innovative approach to spatial planning, turning initial limitations into design opportunities. A prominent feature in the main living area, particularly the dining room, is a 15-foot sculptural shelf. This piece, characterized by its green, wave-like ripples, is constructed from layers of CNC-milled wood and precisely color-matched to the client’s existing pendant lights. It functions as both a practical sideboard and an artistic focal point, demonstrating the designer’s ability to merge utility with aesthetic appeal. This bespoke element adds a unique and dynamic visual texture to the loft, embodying its playful aesthetic. In the kitchen, the design combines sleek stainless steel countertops with brass accents and natural stone, creating a sophisticated yet warm ambiance. Rather than fully custom cabinetry, Batliboi utilized a flat-pack system from REFORM, carefully customizing it to achieve a high-end, built-in appearance. This cost-effective approach allowed for a luxurious aesthetic without excessive custom work, reflecting a sustainable design mindset. The integration of diverse materials and strategic use of pre-fabricated components contribute to the loft's refined industrial charm. The bathrooms feature contrasting material palettes to enhance the home’s eclectic character. One bathroom presents a moody design with deep black zellige tiles, matte black flooring, and a bold granite shower, amplified by natural light from an industrial window. Other areas incorporate a mix of penny tile and marble, providing a tactile and visual contrast. These carefully selected materials and custom fabrications, combined with clever spatial solutions, ensure that the home feels personalized, thoughtfully designed, and genuinely lived-in, successfully merging industrial edge with a playful modern aesthetic. #BrooklynLoft #IndustrialDesign #ModernAesthetic #InteriorDesign #BatliboiStudio #ResidentialArchitecture #CustomFabrication #SpatialPlanning

The article details a collaborative project between flooring brand Bolon and French architect Jean Nouvel, focusing on an installation at the Stockholm Furniture Fair. The collaboration stemmed from Nouvel's prior use of Bolon flooring in the Musée du Quai Branly in Paris, where he appreciated its hardwearing, tactile qualities, and visual appeal both from a distance and up close. Bolon, on the other hand, sought to challenge traditional perceptions of flooring and explore new artistic applications for their material. The inspiration behind the Stockholm Furniture Fair installation, as explained by Jean Nouvel, was to create a "Bolon universe" composed entirely of floors, devoid of ceilings or walls. This concept aimed to push the boundaries of how flooring material is perceived and used. Nouvel also emphasized the importance of human interaction within the installation, wanting visitors to engage with the material by lying on it or touching it. Initially considering regular mannequins, he humorously decided to use four copies of a sculpture of himself by Xavier Veilhan, noting that architects should seize opportunities for humor amidst the seriousness of their profession. From Bolon's perspective, Nouvel's installation has significantly influenced their future outlook. While currently a 100% flooring company, the project introduced the idea of blurring the lines between different architectural surfaces, such as floors, ceilings, and walls. This has opened up possibilities for future applications of their material, even suggesting the ambitious idea of covering building facades. The installation showcased Bolon's new 'Create' collection, some designs of which feature a unique 3D-effect pattern, further demonstrating the versatility and innovative potential of their products. The discussion highlights the mutual respect and creative synergy between the architect and the brand. Nouvel’s vision transformed a functional material into an immersive artistic experience, while Bolon gained new insights into the potential of their product beyond conventional uses. The collaboration underscores a shared commitment to innovation and artistic expression within the design and architecture industries, encouraging both parties to explore uncharted territories for material application and spatial design. The project serves as a case study for how design thinking can transcend traditional boundaries and inspire future product development. #JeanNouvel #BolonFlooring #StockholmFurnitureFair #ArchitecturalInstallation #DesignInnovation #MaterialApplication #CreativeCollaboration #InteriorDesign #ExhibitionDesign