Monthly Archives: August 2013

LimeWharf hosts Adhocracy: exhibition explores how new methods of production are stimulating a “cultural revolution”

Posted on August 30, 2013 by Megan

Opening to the public on 4 September, Adhocracy@LimeWharf brings some of the freshest thinking on the future of design and fabrication to the heart of London’s creative quarter in Hackney. LimeWharf is a cultural innovation gallery and artistic laboratory situated on Vyner Street, Regent’s Canal, at the heart of East London. This innovative and experimental centre welcomes artists and scientists to collaborate in residencies, think-tank gatherings and stimulating exhibitions.

Adhocracy@LimeWharf is curated by Joseph Grima, and adapted for London by urban designer and curator/architect of the Limewharf.org  gallery, Thomas Ermacora. The exhibition is a tour de force in speculative thinking about our future, positioning open design and distributed manufacturing as new engines for unprecedented networks of creation and problem-solving around the world. The exhibition brings together an international group of pioneers representing the avant-garde of digital fabrication ecologies that respond to changes around us, questioning the very definition of design.

Limewharf Exterior

Originally conceived by Grima for the first Istanbul Design Biennial in October 2012, the exhibition then travelled to the New Museum in New York City in May 2013. The London iteration is adapted specifically for LimeWharf, and promises an exhibition that challenges the individual to participate in a global conversation on the role of new designer-maker paradigms, providing a fascinating experience for newcomers and experts alike.

Grima explains the exhibition:
“Adhocracy argues that rather than the closed object, the maximum expression of design today is the process—the activation of open systems, tools that shape society by enabling self-organisation, platforms of collaboration that subvert capitalist competition, and empowering networks of production. The exhibition is heterogeneous, embracing everything from medical innovation to cultural and political criticism, from furniture design to weapons manufacturing.”

Stratigraphic Manufactury 4 – Unfold

A wide range of projects are presented in the exhibition, exploring new directions in contemporary design through artefacts, objects and films. The participants delve into the new territories and opportunities given by open source networked technologies and personal manufacturing tools such as 3D printers. Adhocracy will include several on-site laboratories to catalyse a new London-based centre of micro-manufacturing at LimeWharf.

Adhocracy@LimeWharf has over 50 participants including new projects from: Technology Will Save UsHexayurtFabSkateLuis Fraguada (Robots in Gastronomy) and The Gloves Project.

Adhocracy@LimeWharf will run from Wednesday 4 September – Saturday 12 October 2013. Tuesday – Saturday, 11am – 8pm. 

ASB GlassFloor brings cutting edge technology to TV sport

Posted on August 21, 2013 by Megan

Interactive sports presentation on the ASB GlassFloor at the BT sport television production facilities in the Queen Elizabeth Olympic Park, London

The German producer ASB GlassFloor, located close to Traunstein in Bavaria, is capturing the English market with its interactive sports floor of the future. The illuminated LED marking lines and changing sports fields add a fresh new look to the sports broadcasting of BT Sport in England.

The new TV Channel BT Sport owns the exclusive rights for Rugby, 38 Premier League matches, the German Bundesliga, the WTA Tennis tour, the Moto GP and cover many other international events and sports, paving new paths for interactive presentation.

The studio designers chose the ASB GlassFloor in order to offer a modern and revolutionary presentation for their most important sports. On the 400 sq m sports floor 10 different sports scenarios can be shown at the push of a button: rugby (3 different options), football (3 different options), tennis, volleyball, handball/netball and a square to display a league table. The presenter or director then simply selects the required lines on a touch screen, to show the lines for the interview.

A penalty shoot can be done within true dimensions and situations on the field can be replayed live on the glass floor 1:1; this way the presenter and the guests can judge and explain actions and situations much better to the watching audience. LED marking lines are installed under the elastic ASB GlassFloor and are designed to shine precisely whenever the presenter wants them.

Jamie Hindhaugh, Chief Operating Officer BT Sport states: “What ASB has designed and installed for us is a cutting edge floor which is the cornerstone of our new state-of-the-art production facilities. The floor not only looks fantastic on television but also enables BT Sport to build programmes around observation and analysis bringing its audiences closer to the personalities and skills of the many sports that we will be covering. The floor was designed and installed in record time and there was a great spirit of collaboration and can do from ASB.”

More than 700 metres of marking lines show the required sports under the floor. Horst and Christof Babinsky, the Managing Directors of ASB GlassFloor, say: “The ASB GlassFloor will change the field of sports and events worldwide.”

ASB GlassFloor and its multi-functionality is now taking hold of other markets including spas, hotels, patios and other interior design projects. The colour changing aspects and the ability to install a LED logo under a lit floor hold appeal to a number of projects. The product is low maintenance and takes the wear and tear of footfall very well due to the high quality finish and installation. 

 

The Sofa & Chair Company launch their Autumn/Winter Collection

Posted on August 19, 2013 by Megan

The Sofa & Chair Company make interiors iconic this season with their innovative Autumn/Winter collection 2013. The inspiring luxury London look flows through the collection with modern sleek designs, classic notings and bespoke detailing.

The Sofa and Chair Company is the leading manufacturer of luxury sofas and bespoke furniture in the UK for trade and retail clients. The Autumn/Winter collection introduces strong lines and smooth detailing in the signature pieces such as The Alexander sofa and The Kenzo tub armchair.

The Alexander Sofa

The Alexander Sofa is a sophisticated take on the classic sofa with a pulled stitch effect on the backrest and a layer of padding made from foam-wrapped feather and down.

The Kenzo Tub armchair combines comfort, sleek curved lines and an iconic shape as a modernised classic for the home. Wooden detailing running seamlessly across the back of the chair, arms and forming the legs of the armchair to create a luxurious and distinctive silhouette.

Kenzo tub armchair

The ‘three F’s philosophy’ flows through the 2013 Autumn/Winter collection starting with; film inspiration, to fashion and then finding its place with furniture. These three elements form the way individual lifestyles and image is created.

The Valera Chair is an elegant armchair with feminine reclining lines and sleek angular curves. The Sofa & Chair Company have the largest fabric library in London, as well as an extensive range of quality leathers for upholstering. Their padding materials are made from premium quality feather, down and the thickest Dacron foam to retain volume and shape. Clients are able to fully customise their furniture; from selecting a specific fabric to choosing the right timber.

The Valera Chair

The Sofa and Chair Company’s luxury furniture is handcrafted using kiln dried hardwood timbers and due to the quality of the beech-wood frames, a 15 year guarantee is available as an assurance of this quality. All of S&C’s furniture is manufactured at their workshop in West London, which also houses their cutting-edge furniture design team, timber workshop, fabric gallery, upholstery section, delivery and installation service and the luxury sofa showroom.

S&C will be showcasing a selected range of their products at the World Interiors News Annual Awards ceremony at the Saatchi Gallery in November.

Body Language at the Saatchi Gallery

Posted on August 14, 2013 by Megan

The Saatchi Gallery has revealed their November exhibition, Body Language will be gracing the galleries during the World Interiors News Annual Awards ceremony on 28 November 2013. Interior design professionals will gather amongst the refined splendour of the gallery, to celebrate the winning and shortlisted projects of the awards, and view the work of innovative artists.

Body Language will explore the physicalities of being human through painting, sculpture, photography and other vibrant visceral works. The artists exhibiting through the galleries 7, 8 and 9 include Dana Shutz, Jansson Stegner, Justin Matherly, Amy Bessone, Raffi Kalenderian, Tanyth Berkeley, Michael Cline, Francis Upritchard, Nicole Eisenman and Kasper Kovitz.

Dana Schutz, Singed Picnic (2008)

Throughout Body Language the body can appear in fragmentary segments such as the work of Justin Matherly, squashed flat, or not at all; it can turn up slumping to the floor or gnawed from a hunk of meat, for example Kasper Kovitz.

And when it does appear, it refuses to obey its usual roles as carrier of narrative (in Dana Schutz and Jansson Stegner’s ambiguous scenarios) or epitome of beauty (see Nicole Eisenman and Michael Cline’s grotesques, or Tanyth Berkeley’s restaging of the feminine image). These are figures, then, but not as traditionally understood.

As a uniquely shared property, the human body remains visual art’s best metaphor for an investigation into how it feels to be alive. Physical empathy pulls viewer and object closer together to articulate life’s condition, and to draw closer to others in the hope of mutual understanding of the human body.

Dana Shutz

Dana Shutz’s Reformers shows worried-looking figures clumsily constructing a figure on a table. Shutz presents narratives in her paintings that fail to fully cohere, like a storyteller suddenly realising he’s forgotten the ending in the midst of the telling. The paintings’ styles similarly leap towards and away from closure, flirting with the tics of the past – the skidding brushstrokes of post-war abstract painting, the dappled dabs of impressionism – while revisiting the narrative approach those movements sought to make redundant. Schutz’s stories overreach themselves: there are too many characters, too many props, too much immediate activity for the viewer to find comfortable purchase in the tale.

Dana Schutz , Reformers (2004)

Jansson Stegner

The female police officers in Jansson Stegner’s paintings pose in attitudes of languid melancholy. They lean or lie or crouch on rocks or against tree stumps, their eyes elsewhere, their uniforms the only urban element in otherwise windswept, emptied-out landscape settings. The uniforms strike a special note of strangeness in Stegner’s works: without them, we’d be in the realms of the Romantic portrait, these long-limbed girls embodiments of lost love, or the trials of youth, or innocence abandoned. The paintings’ clash of symbols – discipline and sensuality, law and abandon – gives them a hypnotic force that is both beguiling and disturbing.

Jansson Stegner, Great Plains (2007)

Justin Matherly 

Justin Matherly’s works operate in the gap between the actual and the imagined. Their component parts – glass reinforced concrete forms are set into equipment sourced from hospitals – evoke a contingent kind of truth, something not quite articulated, not quite complete. His works refer to the celebrated excavation of the classical sculptural group Laocoon and his Sons in Rome in 1506, unearthed largely intact but with the central figure’s right arm missing. A competition to create a replacement for the missing arm generated a number of speculative substitutes; Matherly’s sculptures evoke these acts of guesswork by employing materials redolent of instability. The concrete’s surface – pocked and lunar, apparently crumbling – implies uncertainty, the subject’s majestic association and bulging musculature rendered pathetic, even comic, by its reliance on the walkers.

Justin Matherly, As Long As Its Truth And Purity Remain (2011)

Amy Bessone

Bessone’s use of source material – Messien figurines, painted from images in auction catalogues or on web pages – epitomises her satirical investigation of the limits of aesthetic taste, as well as her interest in the uncanny animation of ordinary objects. Eunuch, presents a grotesquely pouting head, its title the epitome of a sexual threshold, seems pitched between tasteful style and lowbrow subject, dancing with merry abandon between the two.

Amy Bessone, Eunuch (2008)

Raffi Kalenderian 

Raffi Kalendarian’s paintings of his close friends and fellow artists employ a dense and graphic patterning that makes them oscillate between flatness and depth, as between an image and an object. Their attention to surface – the artist occasionally uses wax mixed into the paint - emphasises their hand-made qualities, connecting them to a tradition of artisanal craft or folk art. That focus on the physical act of making seems to draw their subjects ever closer, evoking an intimacy that is appropriate for images of flatmates (Highlanders) or former girlfriends (Rachel). Kalendarian’s interest in collapsing the distance between the figure and its ground locates each sitter as component in a particular memory from the artist’s own life: place and person are bound together, as they are in the mind.

Raffi Kalenderian, Highlanders (2008)

Tanyth Berkeley

Tanyth Berkeley’s work revisits the heightened artifice of the Renaissance portrait – hands and feet delicately displayed; flowers clasped to the breast; eyes locked on a distant spot beyond – to lend her images both a traditional gravitas and a playful bait-and-switch between the real and the fictive. The formats of her photographs (slender verticals for full-length figures, cropped rectangles for head-and-shoulder shots) emphasise the focus on individual autonomy: they possess the space absolutely. The frame is framed for them. Her subjects, people Berkeley met by chance on the street or subway and asked to pose as they wished, embody appeals to a transgressive form of beauty. Women, biological or transgendered, occupy pictorial spaces designed for their display as passive recipients of ogling eyes. 

Tanyth Berkeley, Grace in Window (2006)

Michael Cline

Cline uses the grotesque as a weapon of satirical intent. Throughout his work, scenes of contemporary societal breakdown are filtered through a memory of didactic imagery from Christian art. In Free Turn, a dramatically-foreshortened figure recalling Mantegna’s 1501 Dead Christ lies on a pavement, his head resting on a pillow in a cardboard box. Dressed as an old-time grocer in bow tie and apron, his apparent personal breakdown becomes an archetypal one, the writing scrawled on various surfaces harbingers of civic disarray. But Cline’s work swerves away from the monochrome morality of the satirical cartoon, insisting on staging an ambivalent curiosity that is the viewer’s own: notice the woman stooping down to look, in an attitude pitched between concern and indifference. 

Michael Cline, Free Turn (2008)

Francis Upritchard 

Francis Upritchard’s The Misanthrope gathers his tie-dyed robes and jangling necklaces and shuffles away from the world in performance of his name. His smallness is a kind of escape. Ornamental, he glides across an ornate side table, the garish pattern of his cloak at odds with his shrivelled physicality. Sculpture’s long engagement with the figure articulates a human need to immortalise its past, to make something solid of the transience of life. Upritchard’s figures, collaged out of modelling clay, wire, tinfoil and scraps of fabric, gather their uncanny power through a deliberate fragility of form, a brittleness.  

Francis Upritchard, The Misanthrope (2011)

Nicole Eisenman

In Nicole Eisenman’s paintings, art history returns like a hungover memory of the night before, bits of it coming back in unexpected snatches. In Beer Garden at Night, a contemporary parallel to Renoir’s images in turn-of-the-century Paris, the deep space of the painting is populated by figures out of the past, thrown together in a kind of boozy purgatory. Inebriation (many of the glasses are empty, or mostly so) becomes a pictorial premise: our eye performs a drunkard’s sway, ducking and swerving between the balls of hanging light, trying to find a vacant seat. The characters’ urge to touch each other – playing footsie under the table, or embracing in woozy joy – both generates the painting’s darting energy and articulates a theme in Eisenman’s work: the human body making sense of itself through touch.

Nicole Eisenman, Beer Garden at Night (2007)

Kasper Kovitz 

Kasper Kovitz, Carnalitos – Arana (2010)

The Spanish word carnalitos, meaning ‘close friends’ or ‘brothers’, shares a root with carne (meat), and that play on words finds a literal expression in Kasper Kovitz’s sculptures Carnalitos (Arana) and Carnalitos (Unamuno). Both sculptures are carved from legs of Iberian ham set into slabs of concrete; each seems to wobble and totter on its bony appendage, its whittled head emerging from the hunk of meat. Each is a portrait of a significant figure in the history of the Basque struggle for independence from Spain: Sabino Arana, the forefather of Basque nationalism (1865-1903), and Miguel de Unamuno (1864-1936), the more moderate poet and dramatist. Their opposing political standpoints seem reconciled in Kovitz’s use of the same material, with its distinctive purplish-red flesh and ochre shell of fat, and the implication of two legs marching forward in unison, two components of the same physical entity.

The World Interiors News Annual Awards ceremony tickets are now on sale on our website here, or contact us on megan.cox@wantoday.com for any further information on the ceremony.

The works will be on display at the Saatchi Gallery, King’s Road, London from 20 November. To read more on the Body Language exhibition, please go the the Saatchi Gallery site here

Information on the artists provided by Ben Street. All images courtesy of the Saatchi Gallery.

 

Story North – a charming story in wood and white….

Posted on August 9, 2013 by Megan

Inspired by Scandinavian design and a love for interior products and designers, Samantha Ósk Denidóttir co-founded Story North to showcase her favourite pieces. The products are mainly from Nordic countries, but Iceland-born Samantha chooses pieces all over the world that have been designed with love for the user to treasure, not trash.

OYOY

Muuto Shelves

Kahler Stella Interior

She explains: “the work that we have selected is varied, ranging from established designs that have been around since the 30′s to brand new designs from up and coming artists. Irrelevant of when they were designed, all are made with love, thought and integrity, this is very important to us, we offer them to you as we have bought them, use them and love them.”

An interior designer and blogger of www.lovenordic.blogspot.com, Samantha opened the Story North webshop as a new venture to represent a collection of products that will be well-made, long lasting, functional and beautiful and to inspire the owner to keep the product for years to come. Born to an Icelandic mother and English father, Samantha takes great inspiration from the landscape and nature of her home country which greatly influences her design work and selection of products.

Muuto Dots

There are less expensive alternatives available that can offer the same function, however they will not last the test of time in terms of design nor durability. Samantha explains the Scandinavian concept of keeping furniture and products as one for other cultures to embrace: “Throwaway-ism is so prevalent in UK culture – we are advocates of saving up for the piece that you love – these pieces will last a life-time and will be passed down to younger generations with a story to tell!”

byNord Cushions

Some of the Story North partners include: Muuto, By Nord Copenhagen, iittala, Pia Wallen, Vitra, OYOY, Marie Laanga, Ingibjörg Hanna, by lassen, mini & Maximus, Kay Bojesen and Vitra and many more….

Kahler Omaggio

Keep up to date with the Story North blog and their inspirational products and features to take a magical look into a love for design…

Gallery Elena Shchukina: a new, immersive environment for art and design

Posted on August 7, 2013 by Megan

Artist and curator Elena Shchukina is launching the Gallery Elena Shchukina in Mayfair, London this September with a space to challenge the traditional notion of a gallery. The space will bring painting, furniture, lighting, objets and wall coverings together to create an immersive aesthetic environment.

Painting will take the lead, setting the tone for the interior design and furnishings. Led by Shchukina’s personal interest in painting, the gallery is based on her belief in the power of art to inspire a room setting. 

© Gallery Elena Shchukina

Shchukina explains the concept to us in greater detail:

“I want visitors to Gallery Elena Shchukina to feel almost as though they are stepping into a painting when they come here. We are going to work with contemporary designers who will take their cue from the artists with whom we work to create furniture, rugs, lighting and even jewellery that will all complement and reflect the paintings that we show. My idea is to create holistic environments that are inspiring, creative rooms that become perfect living spaces; places that are uplifting, yet also make you feel comfortable, and ‘at home’.”

The first artist to show in the space will be Onyeka Ibe, from 24 September – 9 November 2013:

© Onyeka Ibe & Gallery Elena Shchukina

Now an internationally recognised artist, Ibe grew up during the unrest that followed the end of the Nigerian civil war. In his formative years he experienced periods of intense violence that beset the floundering democracy. He realised that his art could take two paths; either to rail against dehumanizing situations, or to capture elements of humanity in his work.  

© Onyeka Ibe & Gallery Elena Shchukina

His work reflects the latter: Ibe’s portraits, landscapes and still lifes are quiet and reflective, meditative blocks of richly coloured paint. He achieved success early in his career, exhibiting at the National Gallery of Modern Art in Lagos at 16. His work features in international collections and he currently resides in New York.

Ibe’s work will be shown alongside beautifully-crafted furniture and rugs that echo the palette and structure of his paintings, to create a unique and complete living space.

© Onyeka Ibe & Gallery Elena Shchukina

© Onyeka Ibe & Gallery Elena Shchukina

Elena Shchukina was born and raised in Siberia. She successfully completed a law degree at Moscow Law State Academy before deciding to pursue her passion for art and design by studying at the Moscow Design School. During this course Elena began to create themed environments, proposals for interiors where all the elements – art, furniture, wall coverings, floors and objects – would come together to create a harmonious whole. This sparked Elena’s imagination and she began to think about creating a new kind of gallery, one that, rather than showing art in a traditional ‘white cube’ format, would instead create a living space filled with painting, sculpture, furniture, objets and even lighting. Colour and energy are all-important to her and the paintings, objects and furniture that will be displayed at Gallery Elena Schukina will reflect this verve for living.

Onyeka Ibe’s work will be shown at the Gallery Elena Shchukina from 24 September – 9 November 2013. Visit the gallery at 10 Lees Place, Mayfair, London, W1K 6LL (The nearest tube stations are Marble Arch and Bond Street)

Foscarini Opens New York Store Foscarini Spazio Soho

Posted on August 2, 2013 by Megan

The Ferruccio Laviani-designed space will bring together design, culture and commerce…

Italian lighting company Foscarini has opened its first physical location in USA in New York City, during the city’s official design week in May. Called Foscarini Spazio Soho, the 3,500 sq ft location will combine retail and contract capabilities, as well as host site-specific installations by artists and designers. The Italian brand’s first store in Milan, Foscarini Spazio Brera opened in Milan during Salone del Mobile earlier this year. 

“The space will tell our brand stories, communicate emotions and stimulate creativity,” said Carlo Urbinati, co-founder and co-owner of Foscarini. “Our aim is to interest a larger public, all those fascinated by creativity.” The designer, Ferruccio Laviani, created a hybrid space that could have a double function: on one side to give a message strictly related to the brand identity, through site-specific installations, on the other side to display the collection. “As opposed to a multi-brand shop, we wanted to design a space where the visitors can directly get in touch with the company in a personal way, through a striking, warm welcome,” Laviani explains.

Foscarini Spazio Soho on 17 Greene Street will debut with an exhibition by the Italian artist Stefano Arienti who will create a site-specific installation of his piece, Algae, at the opening of the space. Carlo UIrbinati says, “Arienti’s work helps us communicate that the new space will not be an ordinary store, but a place to stimulate thoughts and new ideas.”

Arienti will install Algae in a way to invade Foscarini’s space, with pieces of its plastic forms coming down the 17 ft ceilings. Algae dates back to Arienti’s first solo exhibition in 1986 and has never been shown outside Italy. The piece is made up of plastic bags the artist collected over the years and cut crisscross to turn them into long and aquatic plant-like forms with a rich texture. Hung together Algae’s cut plastic ‘shreds’ create a moving topography marked by the beauty of synthetic bright colours and a near-natural chaotic texture.

“Arienti works with many different materials, and transforms them from the original use they were meant for, which is in a way similar to our constant exploration of materials and forms,” said Alessandro Vecchiato, co-owner of Foscarini.

“The New York location is meant to be a space to communicate our vision and interests as a company serving a cross section of the population,” said Glenn Ludwig, CEO of Foscarini North America. “We will be welcoming with consumers searching for individual design ideas or contract clients looking for a bigger solution, both in the same way.” The space will also hold a series of industry events, panels and educational sessions.

Partners of the World Interiors News Annual Awards, iMakr, launch their first pop-up store in Selfridges

Posted on August 1, 2013 by Megan

The online 3D printing store iMakr, operating the world’s largest 3D Printing store, have announced their collaboration with heritage department store Selfridges to create a pop-up 3D printing destination. From October 24 to the end of 2013, the store will showcase a selection of iMakr’s printers and 3D Art from a range of renowned designers.

The pop-up will be based on the ground floor of the department store and will exhibit an affordable range of products with free demonstrations including a free full body 3D scanning installation where customers can produce their own personalised 3D miniature.

iMakr press show

iMakr have partnered with World Interiors News for the Annual Awards ceremony held at the Saatchi Gallery, London on 28 November. The company are designing stunning bespoke 3D printed trophies, which will be presented to the winners of the interior design competition, and will also provide a live 3D print on site for the final winning trophy.

iMakr with the help of MyMiniFactory.com, the online platform of Free 3D Printable files, will display a selection of beautiful and useful 3D Printed objects at the Selfridges store. Sylvain Preumont, founder and director at iMakr, says: “Since the opening of iMakr Store, two months ago, we have received numerous requests for partnership. I’m delighted to bring 3D Printing in Selfridges, an iconic, vibrant, luxurious and innovative department store.”

3D art showcased at iMakr Press Show

iMakr were delighted to be featured BBC Breakfast earlier this week, as the BBC Technology Correspondent Rory Cellan-Jones went to discover what 3D print stores can offer the wider consumer market. See the feature on the BBC here.

The BBC visit the flagship iMakr store in Clerkenwell, London © BBC

iMakr operates the world largest 3D Printing store, in London, 79 Clerkenwell Road, EC1R 5AR. Please visit www.iMakr.com for further details. Instant Makr Ltd. was founded in 2012 by Sylvain Preumont, a Technology entrepreneur with over 20 years of experience in new technology start-ups