AAU Anastas and Tomoko Sauvage create a symphony of glass and sound at Ruinart's domain in Reims

The article details Julian Charrière's sound and light installation, 'Chorals,' situated in Ruinart’s ancient chalk cellars in Reims, France. These cellars, known as _crayères_, are historically significant, having been formed from ancient marine sediment millions of years ago when the region was submerged under the sea. Charrière's work for Ruinart aims to bridge environmental science and culture by highlighting the impact of global warming and the deep history of the earth. Charrière, a Franco-Swiss, Berlin-based artist, emphasizes the intimate connection between culture and ecology, asserting that human constructs like memory and myth are not separate from the material world. He views the _crayères_ as a perfect embodiment of this entanglement, as they are man-made voids carved into what was once a seabed, composed of compressed marine life over geological eras. By reintroducing oceanic soundscapes into these spaces, 'Chorals' creates an 'acoustic haunting' that collapses time, allowing the memory of the sea to resonate within a place usually associated with silence. The artist conducted extensive research for the project, including learning to dive to study underwater environments firsthand and record their sounds. These recordings capture the diverse acoustic world of marine ecosystems, including the sounds of fish, coral, and currents. He also incorporated recordings provided by marine biologists globally. These underwater sounds are synchronized with a wave machine within the _crayères_ that creates ripples in a shallow pool of water, enhancing the immersive experience. Charrière explains that sound serves as a tool to map presence and draw attention to elements that are often invisible or overlooked. The chalk walls of the cellars, being composed of marine sediment, respond uniquely to sound, making the echo a material phenomenon that can be felt physically. This interaction transforms the space into a form of 'sound archaeology,' where echoes, though slightly degraded, remind us of the porous and imperfect nature of memory. He further notes that coral reefs, often admired for their vibrant colors, possess a rich sonic landscape of crackles, pulses, fish vocalizations, and crustacean clicks. Reintroducing these frequencies into the _crayères_ is a deliberate act to invoke the 'ghost of a former sea,' allowing distant epochs to converge. The installation becomes an echo chamber where time dissolves, and matter itself seems to remember, creating a resonance rather than a mere reconstruction. This project underscores Ruinart's commitment to artistic collaborations that explore environmental themes and its rich geological heritage. #JulianCharriere #Ruinart #SoundInstallation #ArtAndEnvironment #ChalkCellars #MarineEcosystems #EnvironmentalScience #ContemporaryArt #Reims

Dutch artist Suzan Drummen is renowned for her expansive and intricate art installations that feature thousands of glittering crystals and other reflective elements. These installations, often forming elaborate textile and mandala-like designs, are a testament to Drummen's spontaneous and site-specific artistic process. She does not pre-plan her designs but rather allows the unique characteristics of each location to guide her creative decisions. Factors such as the available light, the anticipated movement of visitors, existing color palettes, and the height of the space all contribute to the evolving nature of her artwork. Each installation, therefore, is distinct and slowly takes shape in response to its environment. Drummen's primary objective with her art is to create an overwhelming visual experience for the observer. From a distance, her installations present as clear and organized patterns. However, upon closer inspection, the sheer volume of details and visual stimuli can disorient the viewer. This dynamic interplay between order and chaos, between the ability to grasp the entirety of the artwork and being overwhelmed by its intricacies, is a central theme in her work. Through this intentional challenge to visual perception, Drummen aims to intensify and requisition the viewer's sensory experience. Her chosen materials include a diverse array of shiny objects such as pins for affixing crystals, chrome-plated metal, various precious stones, mirrors, and optical glass. While some of these materials are used to adorn walls, a significant portion is laid freely on the ground, allowing for fluid, unconstrained patterns. This method of arrangement contributes to the organic development of her designs. The kaleidoscopic effect achieved through the interplay of light and these numerous reflective surfaces is a hallmark of her artistic style. Drummen's work draws viewers into a vibrant world of color and sparkle, where the traditional boundaries of art are expanded to encompass entire spaces. Her installations transform ordinary floors, walls, and even people into canvases for her dazzling geometric patterns. This approach blurs the line between art and environment, inviting viewers to not just observe but also to immerse themselves in the dazzling visual landscapes she meticulously constructs. #SuzanDrummen #MandalaArt #CrystalArt #InstallationArt #KaleidoscopicDesigns #SiteSpecificArt #GemstoneArt #VisualPerception #DutchArtist

StudioTamat, a Rome-based architectural firm, has undertaken the renovation of an 80-square-metre "villino" in the heart of Rome, situated within the courtyard of a late-19th-century building on Viale di Trastevere. The project, known as RA House, was designed to create a sense of spaciousness and vibrancy for a couple who split their time between multiple residences. The intervention strategically employs elements of color, transparency, and reflection to achieve this objective within the compact three-level property. The design ethos centers on amplifying spatial dynamism while maintaining a coherent aesthetic that nods to the existing charm of the villino and the lively Trastevere neighborhood. Architects Matteo Soddu, Tommaso Amato, and Valentina Paiola spearheaded the transformation, which involved a significant rethinking of the vertical arrangement of the house. A key modification was the replacement of part of the original first-floor mezzanine with a structural glass floor. This innovative feature establishes a direct visual connection between the ground-floor living areas and the bedroom located above, promoting a more open and integrated living experience. Further enhancing the feeling of openness, a void was introduced into this new glass floor, creating a double-height lightwell. This lightwell is complemented by a new window, allowing natural light to permeate deeper into the interior. Mirrored ceilings are strategically incorporated throughout the house, contributing to an illusion of expanded space and vertical infinity. These reflective surfaces work in conjunction with the transparent elements to dematerialize boundaries and make the relatively small footprint feel significantly larger. A central blue volume acts as a functional core, extending between two levels. On the lower floor, it neatly houses the kitchen and utility spaces, while on the upper level, it accommodates an en-suite bathroom. This clever integration of services within a unified volume optimizes space and maintains visual continuity. The circulation within the house is also thoughtfully designed; a bookshelf ingeniously doubles as a space-saving staircase connecting the two main floors, while a spiral staircase provides access to the second floor, which serves as a flexible study or guest room. In addition to these structural and spatial interventions, the project meticulously restored the art-nouveau-style stained glass, which now forms an orangery at the entrance, infusing the space with shades of green, orange, and yellow. New materials are introduced with a discerning eye, including Verde Alpi marble, which is prominently featured as a podium at the base of the chestnut wood staircase and on kitchen surfaces. Fluted glass is used for partitions in the upstairs en-suite, offering a degree of privacy while maintaining light and an open feel. The kitchen also showcases metal cabinets with an ombre effect, fading from rose-gold to black. The interior is furnished with a mix of contemporary and vintage pieces, including a concrete table, vintage Thonet chairs, and a custom-made bed, providing the final touches to a sophisticated and spatially efficient urban residence. The project successfully blends historical preservation with modern design principles, creating a functional, elegant, and seemingly expansive home within its compact Roman setting. #StudioTamat #RAHouse #RomeArchitecture #VillinoRenovation #GlassFloors #MirrorCeilings #SpatialDynamism #InteriorDesign #ResidentialArchitecture

BAUX, a renowned Swedish acoustics brand, has launched its new X-FELT collection, designed in collaboration with international design studio Form Us With Love. This collection introduces precision-cut acoustic panels and tiles that can be combined to create unique interior rhythms. The design concept draws inspiration from the distinct harmony found in Japanese Zen Gardens, aiming for a sense of calm and vibrant continuity in interior spaces. The X-FELT collection features large-format, high-performance acoustic panels measuring 1 x 2.8 meters and tiles of 6 x 6 meters. These products were unveiled during Stockholm Design Week 2025. A key aspect of the collection's sustainability is its construction from ultra-fine, high-quality polyester fibers derived from GRS-certified PET. This material choice eliminates the necessity for harmful fire-retardant treatments, thereby reducing toxic emissions during production, use, and eventual disposal. The panels and tiles possess a smooth, compact, and lightweight layered sandwich structure, contributing to their durability and effective sound absorption. From an environmental perspective, the X-FELT collection is fully recyclable. It can be processed at facilities that handle PET or returned through BAUX’s dedicated BAUX Circle Programme, emphasizing the brand's commitment to circular economy principles. The product also meets safety standards, being rated Fire Class Bs.1-d0 for both wall and ceiling applications. Visually, the X-FELT collection is characterized by intersecting, curvilinear lines that form structured yet flowing geometric compositions. It offers a diverse color palette, including solid and contrasting duo colors. The design utilizes a repeated grid of rectangular panels, each containing mirrored and rotated variations of a single motif. This approach creates symmetrical arches and wave-like curves that interlock, generating a tranquil yet dynamic visual movement across the surface. The interplay of curves and occasional sharp points introduces structured contrast within the fluid patterns, enhancing the aesthetic appeal and rhythmic continuity across entire wall surfaces. The lightweight and large format of these panels and tiles enable the creation of cohesive and visually striking sound-absorbing installations, particularly suitable for larger spaces. BAUX, established in 2014, is a joint venture by Fredrik Franzon, Johan Ronnestam, and Form Us With Love founders Jonas Pettersson and John Löfgren. The company, which now has a global presence in over 30 regions with clients like Google, Stella McCartney, WeWork, Spotify, and Nike, operates with a core belief in developing building materials that are sustainable, highly functional, and visually appealing, without compromising environmental and safety standards. The X-FELT collection exemplifies this ethos, providing interior designers with extensive creative freedom to craft ambiances that are both sensitive and engaging. #AcousticPanels #SustainableDesign #InteriorDesign #RecyclableMaterials #ZenInspiredDesign #FormUsWithLove #BAUX #InnovativeMaterials #SoundAbsorption

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt

Woven Image, a company specializing in interior finishes, has expanded its product line with four new acoustic panels, along with ceiling tiles and baffles. These new offerings incorporate embossed finishes and tactile patterns, drawing inspiration from historical design movements. The recently introduced acoustic panels are named Pico, Ion Duet, Ohm, and Palace, complemented by Fuji ceiling tiles and Array ceiling baffles. The acoustic panels represent an evolution of Woven Image's existing designs, maintaining the characteristic embossed wall finishes that create visually appealing and tactile surfaces. Pico, for instance, features corrugated valleys and peaks, reflecting an architectural trend for detailed linework. This design adds texture to walls and contributes to a cozier atmosphere within a space. While Pico is primarily intended for wall applications, Ion Duet is a more versatile panel specifically designed for contemporary hybrid workspaces. Ion Duet distinguishes itself with a striking geometric design and is dual-sided, allowing it to function effectively as a partition for dividing workspaces. An additional variant, Pendent Ion Duet, can be suspended above floors to enhance sound experiences. The brand has also unveiled two new precision-cut acoustic panels: Palace and Ohm. Palace's design, characterized by undulating lines, draws inspiration from architectural archways and the distinct linear and arc motifs prevalent in Art Deco interiors and buildings. Ohm's design humorously references its acoustic function, resembling the ebb and flow of soundwaves. Both Palace and Ohm are engineered with a bevelled edge, facilitating seamless installation when joining multiple panels. These panels are also manufactured using 60 percent post-consumer recycled PET plastic, highlighting a commitment to sustainable materials. To complement these wall-mounted and partition solutions, Woven Image has introduced Fuji, a collection of 3D-formed ceiling tiles available in three sizes. These tiles boast a high sound-absorption rating, effectively reducing reverberation times in various environments. The stylish, graphic design of the Fuji tiles is inspired by Japonisme, a late nineteenth-century Western cultural fascination with Japanese design, as well as the Art Deco movement. According to Woven Image, all Fuji tiles exhibit Art Deco curves and reinterpreted linework, echoing the design of their original embossed acoustic panel, Zen. The company emphasizes that unique installations can be achieved through diverse configurations of tile size, colorway, hardware finishes, and suspension heights. Fuji tiles are also compatible with Array, Woven Image's customizable acoustic ceiling baffle system. Array is designed to manage reverberated noise in busy public spaces and requires 60 percent less hardware compared to other acoustic baffle systems. All the new designs—Pico, Ohm, Ion Duet, Palace, Array, and Fuji—are available in a variety of colors that coordinate with Woven Image's EchoPanel color palette. These product introductions showcase Woven Image's continued innovation in acoustic solutions, combining functionality with aesthetic appeal while also considering environmental impact through the use of recycled materials. #AcousticPanels #InteriorFinishes #ArtDeco #Japonisme #SustainableDesign #WorkspaceDesign #SoundAbsorption #RecycledMaterials #ArchitecturalDesign

teamLab, an international art collective, has partnered with TikTok to launch an innovative immersive art and sauna experience in Tokyo called 'TikTok teamLab Reconnect.' This unique exhibition, open until August 31, aims to allow visitors to experience art in an enhanced mental state, referred to as a 'sauna trance.' This state is achieved by cycling through saunas, cold showers, and periods of rest, which are believed to sharpen the senses and clarify the mind, enabling a deeper appreciation of the art. The concept draws inspiration from ancient Japanese traditions, blending this historical pastime with digital and immersive art. The exhibition features various saunas, each equipped with colorful lighting and calming scents, followed by a cold bathing area. After this cycle, visitors enter one of five immersive art installations. The experience encourages repeating this process before viewing each new art piece. The installations showcase several of teamLab’s signature boundary-defying works, including pieces from their new project, 'Supernature Phenomena.' Notable installations include 'Levitation,' 'Ephemeral Solidified Light,' 'Proliferating Immense Life in the Rain,' and 'Step into the Light Circle.' These pieces incorporate elements such as levitating orbs that pulsate with energy and color, and floating crystals of solidified light, creating an otherworldly environment. The exhibition challenges conventional notions of art viewing by integrating a physical and mental conditioning process. In collaboration with TikTok, teamLab also developed an augmented reality (AR) piece called 'Every Life Survives in Fluctuating Space,' which can be experienced remotely through the TikTok app. This extends the accessibility of the art beyond the physical exhibition space. The entire experience of 'TikTok teamLab Reconnect' is designed to be unconventional, pushing the boundaries of how art is perceived and interacted with. Further details about the exhibition are available on teamLab's official website. #TeamLab #ImmersiveArt #SaunaExperience #DigitalArt #ArtInstallation #TokyoExhibition #TikTokCollaboration #SupernaturePhenomena

The article details a collaborative campaign between Swedish fashion brand Totême and interior designers Halleroed, which uses a series of perspective-shifting images and 3D installations to celebrate their home city of Stockholm. Totême founders Elin Kling and Karl Lindman conceived the campaign with a strong focus on the geography and introspection afforded by their city, aiming to integrate fashion, lifestyle, and architectural elements. The campaign features photographs by Mikael Jansson, a renowned photographer admired by Totême for his work with luxury brands like Chanel, Brioni, and Dior. Jansson's contribution involved documenting an imagined day in Stockholm, capturing scenes such as a model dining at Teatergrillen, shopping at Hötorget market, and architectural facades, including Totême’s design studio. The collaboration with Jansson was facilitated by the restrictions that kept the creative team within Stockholm, which, according to Lindman, enhanced the campaign's value by utilizing local talent. Halleroed, long-term collaborators with Totême, were responsible for the 3D installations. Known for their sleek, materiality-focused retail spaces for brands such as Acne Studios and Byredo, Halleroed previously designed Totême's Art Deco-centric townhouse and its graphic space in Nordiska Kompaniet. Their affinity for Swedish materials is highlighted, and their architectural expertise was crucial in translating Totême's vision into physical manifestations. For this campaign, titled 'A Stockholm Story,' Halleroed constructed two-meter-high cuboid plinths using scarlet steel tubing. Elin Kling explained that the vibrant red tone was chosen for its elegance, contrasting effectively with Jansson's signature monochrome photography and offsetting the typically gloomy late summer Stockholm skies when the images were shot. This choice enhanced the industrial feel of the constructions while providing a visual pop. The campaign serves to emphasize Totême's distinct design cues and its deep connection to Stockholm. The article suggests that by showcasing elements of the city, from its scenic waterfront to its archipelago, Totême invites its audience to stylishly trace a route through the Swedish capital. This strategic use of local talent and a city-centric narrative aims to reinforce the brand's identity and its strong ties to its origins. #Fashion #Design #Stockholm #Toteme #Halleroed #MikaelJansson #Campaign #Collaboration #InstallationArt

The art collective rAndom International, known for their interactive and experimental works, has unveiled a monumental outdoor installation titled 'Tower: Instant Structure for Schacht XII' at the Zollverein Coal Mine Industrial Complex in Essen, Germany. This performative structure, a towering shower, cycles an impressive 30,000 liters of water per minute. The choice of location is particularly significant, as the world heritage site requires approximately 6 million cubic meters of water to be pumped out of its former mines annually to maintain the structural integrity of the entire region. The installation ingeniously harnesses this native resource to fuel its ambitious design. This marks rAndom International's first outdoor installation, following their highly successful 'Rain Room' project, which similarly featured large quantities of water in an architectural context. The 'Tower' creates an ephemeral, yet intensely loud, man-made storm, leaving a palpable film of moisture in the surrounding air. The controlled and structured application of such vast amounts of water animates the space, transforming the static architecture of the former industrial site into a dynamic, experiential environment. The project aims to explore new possibilities for engagement with and access to historic industrial spaces that were not originally designed for human or social interaction. It creates a striking juxtaposition between the simulated, temporary architecture of water and the solid, permanent buildings of the coal mine complex. 'Tower: Instant Structure for Schacht XII' was commissioned by Urbane Künste Ruhr for the RuhrTriennale 2013. The installation offers a unique sensory experience, allowing visitors to witness and interact with the immense power and movement of water on a grand scale. The constant flow and visible presence of water highlight the ongoing ecological and structural relationship between the site and its natural resources. By transforming a necessity—water removal from the mines—into a captivating art installation, rAndom International brings attention to the hidden processes that sustain such industrial heritage sites, while simultaneously offering a fresh perspective on architectural possibilities and the interplay between natural elements and constructed environments. The artwork's powerful visual and auditory components, combined with the tactile sensation of moisture, create an immersive experience that challenges perceptions of space, structure, and nature within an industrial setting. It invites contemplation on the history and future of such sites, and the potential for artistic intervention to reveal new layers of meaning and engagement. The installation ran daily from 10 AM to 1 AM until October 6, 2013, offering a temporary yet impactful transformation of the Zollverein complex. #ArtInstallation #InteractiveArt #WaterArt #Ruhrtriennale #ZollvereinCoalMine #OutdoorInstallation #EphemeralArchitecture #PublicArt #RandomInternational

The annual 1000 Vases exhibition in Paris, founded in 2018 by Francesco Pirrello, celebrates the vase not merely as a container for flowers, but as a standalone object of art. Pirrello's vision for the exhibition prioritizes unique pieces from independent and emerging artists, asserting that a truly good vase does not require flowers to demonstrate its aesthetic merit. This perspective was inspired by his friend Roberto Baciocchi, an Italian architect and avid vase collector. Initially conceived to feature a large quantity of works, symbolizing abundance and diversity much like the '1000-sheet' delicacy of mille-feuille or the fables of 1001 Arabian Nights, the exhibition ultimately adopted a 'less is more' approach, showcasing around 100 items. This adjustment aimed to allow visitors to appreciate each piece individually and engage with the artists. Pirrello observes that contemporary vase-making trends show a predominance of women artists and a preference for ceramic materials, noting that vases are accessible, affordable, and easily incorporated into any space, referring to them as "democratic objects." This year's 1000 Vases exhibition, running during Paris Design Week until September 8, highlights the works of eight participating artists, each bringing a distinct perspective and technique to the art of vase creation. Chous Ceramics, a duo from Sparta, Greece, presents hand-built sculptures that explore balance and tension, drawing inspiration from nature and Greek ceramic history. Their predominantly beige vases are characterized by voluminous bases and open, elegant rims. Belgium-based artist Dietmar Michiels, born in 1988, works with ceramic sculpture, employing coiling, plating, and throwing techniques with porcelain and glaze to create imaginative, creature-like pieces often accompanied by conversational titles. His work draws from everyday inner experiences, the mystical, historical art, the occult, and various cultural identities. Hellen Song, an artist from Shanghai now based in Toronto, uses ceramic vessels to delve into themes of the human condition, philosophy, and nature, often influenced by the supernatural and Impressionistic mark-making. Her exhibited stoneware vessel, with its blue and white tones, evokes a seascape, representing a range of emotions through the metaphor of water bodies. The collaboration between French artist Coco Brun and Mexico City-based Sten Studio yields the 'Mistico' vase, a geometric, multi-colored piece made from red travertine, Venetian marble, and pink onyx. This work pays homage to Meso-American culture, with each color carrying symbolic meaning related to rituals, fertility, and the balance of masculine and feminine energies, inspired by Meso-American architecture. Norwegian artist Karin Amdal presents 'Pluss', a pair of smooth, round terracotta pots designed to form a 'plus' sign when combined, showcasing her style of creating simple yet characterful pieces that often incorporate extensions or words. Amdal's inspiration stems from nature and everyday life, with her pieces designed to be open to interpretation and evoke a smile. Magdalena Zarychta, a multidisciplinary Polish artist specializing in decorative and stained glass, showcases her (COM)PRESSION vase. This hot-formed, blown glass object is hand-shaped, embossed, and features botanical markings, symbolizing traces of the past akin to fossils. Istanbul-based artist Sara Montazeri's coral reef-like artwork, crafted from stoneware clay, pays tribute to the 13th-century Sufi poet Rumi, incorporating his words "You are my soul and my world" in gold Farsi script, blending tradition with modern organic design. Finally, New York City-based writer and artist Emily Tate Moreu, inspired by ancient Greek pottery, creates minimalist, thoughtful pieces that explore the philosophies of form and human interaction, including greige vessels, abstract sculptures, and a stoneware candelabra. #VaseExhibition #ArtisticVases #CeramicArt #IndependentArtists #ParisDesignWeek #ContemporaryDesign #HomeDecor #SculpturalVases #DesignTrends

Autex Acoustics has introduced a range of sound-dampening products to the Dezeen Showroom, featuring panels designed to integrate seamlessly into diverse interior aesthetics. The collection includes items that mimic natural materials like wood and stone, alongside customizable systems for walls and ceilings. This release caters to the ongoing demand for acoustic solutions that do not compromise interior design. One of the featured collections is the Stone collection, which offers acoustic panels with the visual characteristics of veined stone, such as travertine and marble. These materials have historically been popular in architectural and interior decoration, and Autex Acoustics leverages this appeal by combining aesthetic value with functional sound absorption. The panels provide a versatile and cost-effective alternative to traditional acoustic cladding, available in various patterns to suit different design preferences. Building on the theme of natural materials, Autex Acoustics also presents Acoustic Timber. This range draws inspiration from the unique knots and grain patterns found in various wood species, including pine, ash, oak, eucalyptus, and walnut. The Acoustic Timber collection is available in three application formats—baffles, tiles, and panels—allowing for flexibility in design and installation. This product line aims to offer the warmth and texture of wood while effectively managing sound within a space. Another significant offering is the Frontier system, which is specifically engineered for ceilings and walls. Composed of 100% polyester fibre shapes, Frontier panels are designed to control noise levels and can be configured to create wave-like effects on interior surfaces. The system provides a broad spectrum of 21 colorways and offers customization options through an adjustable channel and clip mechanism, enabling designers to tailor the acoustic treatment to specific spatial requirements and aesthetic visions. Composition is a sound-dampening product noted for its durability, making it suitable for high-traffic environments. These wall coverings are installed using a drop technique, similar to traditional wallpaper, simplifying the application process. The ease of installation, combined with effective acoustic properties, positions Composition as a practical solution for various commercial and residential settings. The Groove system, yet another innovative product from Autex Acoustics, offers customizable router-cut panels for walls and ceilings. This system provides patterned finishes and features a self-adhesive backing for straightforward installation. With six suggested patterns and five angle options, Groove allows for a high degree of customization, enabling designers to create unique visual and acoustic environments. These panels are also available in a wide array of colors. Autex Acoustics, established in 1967, specializes in developing sound-dampening products primarily for offices and mixed-use interiors. The company maintains showrooms in key international locations, including the UK, USA, New Zealand, and Australia, reflecting its global presence and commitment to providing high-quality acoustic solutions. The featured products highlight the brand's focus on integrating aesthetic appeal with functional sound management, offering versatile options for contemporary interior design. #AcousticProducts #InteriorDesign #SoundDampening #ArchitecturalFinishes #NaturalMaterials #WallPanels #CeilingPanels #AutexAcoustics #DezeenShowroom

French designer Mathieu Lehanneur has unveiled "Petite Loire," the latest addition to his 'Liquid Marble' series, at the Domaine de Chaumont-sur-Loire Centre D’Arts et Nature. This installation is a prominent feature of this year’s International Garden Festival, which is subtitled 'Gardens From the Coming Century.' Lehanneur’s work challenges conventional perceptions of water features by presenting a seemingly fluid body of water crafted entirely from solid green marble. The inspiration for "Petite Loire" directly stems from the French river Loire, which Lehanneur describes as a force that shapes and nourishes the landscape, flowing perpetually without pause. The artist aimed to capture an ephemeral moment of the river's gently rippling surface, freezing it in time. This is achieved through a single piece of hand-polished green marble, meticulously sculpted using 3D software to mimic the organic flow of water. The installation is designed to offer visitors a unique sensory experience. Lehanneur envisions that upon entering the Château gates, visitors will encounter what feels like a magical, almost forbidden, portal. Despite its solid marble composition, the artwork evokes a sense of liquidity and evanescence, creating a striking contrast between the perceived fluidity and the material's inherent solidity. The work is positioned a few dozen metres above the natural river level, cutting into the garden's surface to reveal a fluvial relief that is both vertiginous and navigable. "Petite Loire" embodies a simple yet elegant concept, characteristic of Lehanneur's design approach. His ability to transform everyday elements into sophisticated artistic statements is evident in this piece. The installation not only serves as a visual spectacle but also encourages contemplation on the nature of water, time, and the environment. Its inclusion in the International Garden Festival, with its future-oriented theme, suggests a forward-thinking perspective on integrating art and nature. #MathieuLehanneur #LiquidMarble #ArtInstallation #ChaumontSurLoire #InternationalGardenFestival #GreenMarble #FrenchDesign #Sculpture #ContemporaryArt

Swarovski has revealed the second installment of its Designers of the Future initiative at Design Miami/Basel, showcasing three innovative crystal-related projects. This year's award recipients are Anjali Srinivasan, Studio Brynjar & Veronika, and Yuri Suzuki, who have spent the past six months developing new crystal-based works, following their announcement as winners earlier this year in Paris. Each designer or studio had the opportunity to immerse themselves in Swarovski's crystal world at the company's headquarters in Wattens, Austria, leveraging Swarovski's expertise and materials to bring their visions to life. Glass artist Anjali Srinivasan's project is an installation inspired by human gestures. She seamlessly integrated her glass artistry with Swarovski’s crystal craftsmanship, specifically utilizing the company’s 'Touch Crystal' technology. This innovative feature allows the crystal to respond to human touch with light, blurring the lines between a solid object and interactive visual effects. Srinivasan's installation is a monumental crystal wave, standing six meters tall and supported by a mesh structure. It incorporates 3,000 Swarovski crystals and 5,000 pieces of glass, which she produced at her studio in Dubai. This project aims to explore the intersection of optical and physical phenomena, pushing the boundaries of human-centric design. Studio Brynjar & Veronika, an Icelandic duo, contributed a dynamic interpretation of crystal with their installation titled 'Currents.' This piece explores the interaction between light and crystal, bringing the material into a domestic setting through three distinct elements. They re-envision common household items, such as a standard window blind, by incorporating prisms that project rainbow-colored light when illuminated. Additionally, their crystal tiles are designed to diffuse a liquid reflection of their surroundings when they come into contact with water. The third component of their installation features a collection of crystal sticks, designed to highlight the transparency and light-refracting qualities of the gems, showcasing new uses and applications for crystal in everyday environments. Japanese sound artist Yuri Suzuki approached crystal from an acoustic perspective, blending his sonic practice with Swarovski's signature material. His research delved into how crystal vibrations can be translated into sound. The result is a mechanical, interactive 'crystallophone' comprising 16 brass mechanical ‘notes,’ each fitted with a handmade crystal form that represents tones ranging from C1 to D3. Suzuki collaborated closely with engineers at Swarovski’s Wattens facility to execute this complex project, which stands as a testament to the fusion of art and technology. Nadja Swarovski highlighted the excitement of seeing a diverse group of emerging talents from around the globe explore their visions of future living through these beautiful and thought-provoking crystal works. The collective installations demonstrate Swarovski’s ongoing commitment to innovation and its remarkable capacity for experimentation with its unique material. The company's continued engagement with initiatives like Designers of the Future, alongside its ventures into fashion, home collections, large-scale installations, and micro-crystal creations, underscores its dedication to research and development, constantly challenging perceived limitations of crystal as a medium. #Swarovski #DesignersOfTheFuture #CrystalArt #DesignMiamiBasel #AnjaliSrinivasan #StudioBrynjarVeronika #YuriSuzuki #InteractiveDesign #MaterialInnovation

French designers Ronan and Erwan Bouroullec have collaborated with Finnish company Iittala to create 'Ruutu,' a collection of ten mouth-blown borosilicate glass vases. The series, which translates to 'diamond' or 'square' in Finnish, is available in five sizes and seven distinct glass colors. The design intention behind 'Ruutu' was to allow the vases to be collected and combined, forming seamless miniature installations that highlight both the strength and delicate nature of the glass. The designers aimed to craft pieces that would capture light and introduce color into a home environment. Ronan Bouroullec emphasized the intricate and precise process of creating these vases, comparing it to a theatrical production. The making of each vase involved carefully choreographed gestures by artisans, navigating the extreme heat and malleability of molten glass. This meticulous craftsmanship is central to achieving the desired aesthetic and structural integrity of the 'Ruutu' collection. Erwan Bouroullec noted the inherent challenge in shaping glass, a material that naturally favors roundness and curves, into precise geometrical forms. The choice of a diamond or square shape, despite glass's tendency to flow like honey, was strategic. This geometric form was ultimately selected because it allowed the designers to achieve their core objective: creating a shape that could be reproduced in various sizes and intermingle perfectly. This intermingling of different sized and colored vases creates a dynamic interplay of color and an intersection of volumes, reminiscent of blending liquids into watercolors. Each vase in the 'Ruutu' collection is individually mouth-blown, underscoring Iittala's commitment to traditional craftsmanship and the unique qualities that hand-made items possess. The collection embodies a balance between the designers' vision for precise geometry and the organic nature of glass blowing. The overall effect is a versatile and visually engaging series of vases that can function as standalone decorative objects or as part of a larger, cohesive display, allowing users to create personalized arrangements that reflect their aesthetic preferences and interact with light and space in varied ways. #RuutuVases #RonanAndErwanBouroullec #Iittala #MouthBlownGlass #GlassDesign #HomeDecor #FinnishDesign #ContemporaryDesign #VaseCollection

Netjets, a private jet airline, has maintained a 16-year partnership with Art Basel, consistently unveiling collaborative projects at the fair. This year's iteration featured a bespoke installation by Swedish artist Frida Fjellman within the Netjets collectors' lounge. Fjellman's contribution, titled 'Crystal Atmosphere,' brought a new spatial interpretation to her signature blown glass lanterns. These lanterns, first showcased in a solo exhibition in 2015, have since evolved into various colors and sizes, all retaining their distinctive mouth-blown glass and metal components. They are presented both as individual pieces and as elaborate chandelier-like clusters. Fjellman's artistic journey with these lanterns involved a two-year development period in collaboration with The Glass Factory, an art glass producer situated in Boda, a small village nestled within Sweden's forests. The artist initially conceived these lamps not for traditional beauty or utility, but to evoke the impression of exaggerated, somewhat unconventional jewelry—beautiful yet intriguing. The unexpected popularity of these pieces has been a point of interest for Fjellman. The lanterns gained significant attention when they were displayed at Design Miami/ in 2016 as part of a large-scale installation by Hostler Burrows. This exposure captured Netjets' interest, leading to the current collaboration. For the Art Basel lounge, Fjellman was granted complete creative freedom. Over a period of four months, she developed her largest installation of these works to date, comprising 100 lanterns in a spectrum of shades and sizes. This project also involved the creation of a new large-scale piece that pushed existing production boundaries. The installation within the lounge featured the lanterns suspended from the ceiling in color-coordinated clusters. The lighting of these pieces was designed to be discreet, with lights slowly fading in and out, mimicking a breathing pulse. Fjellman's stated intention for the 'Crystal Atmosphere' installation was to cultivate a serene environment, providing a calming respite from the often-hectic atmosphere of the art fair. 'Crystal Atmosphere' underscores Netjets' ongoing commitment to the arts. Previous artistic collaborations by the private aviation company include projects with the art/design duo Snarkitecture and British artist Rebecca Louise Law. Fjellman reflected on the inspiration behind her installation, noting her interest in the almost magical sense of tranquility experienced during flight above the clouds, likening it to a rare oasis of calm in an increasingly hyper-connected digital world. #ArtBasel #Netjets #FridaFjellman #InstallationArt #BlownGlass #DesignMiami #CrystalAtmosphere #ContemporaryArt #ArtCollaboration

The article reviews "Every Wall is a Door," Superblue Miami’s inaugural exhibition, which features large-scale, immersive artworks by teamLab, James Turrell, and Es Devlin. The exhibition builds upon the visionary ideas of new media pioneer Stan VanDerBeek, who in 1966 envisioned "intermedia experience machines" that would help people process the rapid changes brought by technological innovation. VanDerBeek believed in the importance of artistically cultivated experiences to foster a new, shared vocabulary, incorporating concepts from ecology and cybernetics alongside immersive and collective audience participation. teamLab, a Tokyo-based collective of over 400 "ultra-technologists," is presented as a modern-day realization of VanDerBeek's vision. Their interactive digital installations, such as _Flowers and People, Cannot be Controlled but Live Together - Transcending Boundaries, A Whole Year per Hour_ and _Universe of Water Particles, Transcending Boundaries_ (both 2017), are central to the exhibition. These works utilize darkened rooms, large-scale projections, and intricate visual effects to create immersive environments where visitor participation directly influences the artwork. Flower petals and water particles respond to movement, and luminous flora and swirling streams contribute to a sensuous, expansive illusion accompanied by a dreamy soundtrack. The collective's populist approach encourages audience engagement, ranging from taking selfies to observing the evolving scenery, effectively transforming the gallery into a technologically enhanced "black-box" where art is "democratized." In contrast to teamLab’s vibrant sensory overload, James Turrell’s _AKHU_ (2021) offers a more subdued, perceptual experience. This installation is an iteration of his "Ganzfeld" series, featuring a white chamber that uses high-chroma light to manipulate visual perception. The LED-halo color-cycling is so gradual that it creates an illusion of stillness and ambiguity in space and time. Viewers experience shifts in tonality that are products of their own minds, highlighting the role of perceptual agency in art. This piece emphasizes that the lack of conscious control over perception is not a flaw but a core element of the artwork itself. Es Devlin’s _Forest of Us_ (2021), a London-based stage designer's contribution, concludes the exhibition. Visitors first watch a video montage that draws parallels between fractal branching in nature, such as air movement in bronchial passages, and the interconnectedness of humanity with nature. Following this, they enter a recursive, curvilinear mirror-maze with winding corridors, stairwells, and bright white lights that create infinite reflections. The accompanying cinematic sci-fi synths and slow breathing sounds contribute to an ethereal atmosphere. While the thematic link between the video and the maze might become less apparent during the experience, Devlin’s meticulous execution and background in theatrical design are evident in the installation’s visual impact and spatial choreography. Superblue Miami aims to be a next-generation art space dedicated to large-scale, immersive art, seeking to challenge and transform visitors' understanding of themselves and their relationship with the world. The curated route of "Every Wall is a Door" guides guests through a diverse array of experiential poetics, balancing high-tech spectacle with analog immersion. The installations explore themes of illusion, reality, memory, forgetting, and human agency. The ultimate success of Superblue is presented as residing not just in the artworks themselves, but in their capacity to elevate the viewer's aesthetic sensitivity, leading them to recognize the immersive potential of art and everyday life beyond the confines of a traditional museum setting. Steven Pestana, a visual artist and writer, contributed this review, drawing on his background in digital media and art history. #ImmersiveArt #DigitalArt #NewMediaArt #ArtExhibition #InteractiveInstallation #StanVanDerBeek #teamLab #JamesTurrell #EsDevlin #SuperblueMiami