OBJEKT©INTERNATIONAL D13

OBJEKT

LIVE THE DREAM

The future of design is a hot topic, especially after the pandemic and in this uncertain time. In an effort to tackle this dilemma, Altagamma, the Italian

Association of the Luxury Brands organized its most innovative and visionary event in 2022: Next Design Perspectives at the Triënnale in Milan

It was an initiative in partnership with the Ministry of Foreign Affairs and International Cooperation and ITA, the Italian Trade Agency

With Marva Griffin, Salone del Mobile’s princess of global design at the Altagamma event.

OBJEKT International was there to join the deliberations in the fields of Design and the Scientific Imagination, Collective Intelligence and Design Thinking in Action

All subjects, devoted to future trends in creativity and design had sustainability as a key issue. This edition of OBJEKT International again is a reflection of international creativity covering a wide range of projects: from the Classics to the Ultra Modern

OBJEKT© iNTERNATIONAL Living in Style no. D13, winter 2022 Published by Hans Fonk Publications Distripress member issn 1574 8812 Copyright ©Hans Fonk

Founder and editor in chief: Hans Fonk Editor in chief: Izabel Fonk

Corporate head office: Raadhuislaan 22 B NL 2451 AV Leimuiden Netherlands t:+31 172 509 843 info@objekt international com www objekt international com

Honorary editor in chief USA and Canada: Alexander Sasha Josipovicz, Studio Pyramid Inc 1232 Yonge Street, Toronto, ON, M4V 1E4 sasha@studiopyramid com

Head Office Berlin, Germany Rneé Wilms Unique Company Group Oberwallstraße 14 D 10117 Berlin, Germany

OBJEKT International A S I A / C H I N A Cora Feng Xi Tang Art Center No 2 Xi Ba He Road, Chaoyang district, 100028 Beijing, China

Contributing writers: Izabel Fonk, Sasha Josipovicz, Susan Grant Lewin, Milosh Pavlovic, Ruud van der Neut, Lorenza Dalla Pozza, Robyn Prince, Raphaëlle de Stanislas, Rene Wilms, Vanja Bannan, Sheldon Rose

Contributing photographers: Benjamin Benschneider, Sabina Blasiotti, Julia Brechler, Richard Gooding, Deniz Guzel, Alaia Fonk, Hans Fonk, Ewout Huibers, Vassilis Karidis, Felix Michaud, Matthew Millman, Junya Okada, Carole Rabourdin, Olivier Ravoire, Andrea Rossetti, Lucien Le Saint, Camille Sauvageot, Kevin Scott, Studio Periphery, Francesco Squeglia, Christopher Wahl

INTERIOR DESIGN

Honorary ambassadors

OBJEKT International OBJEKT USA CANADA

George Beylerian

Eric Booth

Martyn Lawrence Bullard

Tony Chi

Massimo Iosa Ghini

Jacopo Etro

Mar va Griffin Wilshire

Ralf Ohletz von Plettenburg

Glenn Pushelberg

George Yabu

Rene Wilms

A R C H I T E C T U R E ARTS, ANTIQUES GARDENS, YACHTS

flower

power 2

by HANS FONK artwotk: PHOTO printed on gallery paper

THE QAAMMAT PAVILION

Located in Sarfannguit, a cultural landscape in West Greenland and a UNESCO World Heritage site since 2018, the Qaammat pavilion by Konstantin Ikonomidis, a Swedish architect, was designed to celebrate and promote the Inuit intangible cultural heritage and traditional knowledge of the environment

Characterized by the two fjords that meet on Sarfannguit’s eastern tip on the hills, the pavilion’s location has been carefully chosen by the local community, site manager

Paninnguaq Fleischer Lyberth and architect Konstantin Ikonomidis for its impressive view over the Sarfannguit municipality

The pavilion was anchored in the rocky terrain Drilled into the ground with 40 mm holes, the foundation was constructed with rock anchors in the exact same way that ever y typical house in the settlement is. Attached to the upper part of the metal poles is a custom made stainless steel bracket with a circular geometr y. The metal bar is fully horizontal and the poles var y in length according to the terrain.

Bold enough to take its name from an exploding star, Supernova is the vision of Zac Levine who teamed with Mutuus Studio, GMD Custom, and artist friends to establish Seattle’s most culturally inclusive atmospheric arts and entertainment nightclub. Supernova’s guiding principle was to create a safe and welcoming environment for women, BIPOC, and all members of the LGBTQIA+ community as employees, patrons, and entertainers. Catering to diverse audiences, and selfexpression, Supernova welcomes everyone to enjoy a night of dancing, music, and art.

The cur ving walls, constructed in glass blocks, form a linear pathway open at both ends, which ser ves as an entrance to the pavilion. One of the more distinctive features of the

structure is its glass ‘shell’, its play of transparencies, scale, and weight, resulting in a feeling of surreality. The Qaammat pavilion can simultaneously alter the viewer’s perspec tive, merge, and even vanish into the surrounding topography

The design drew its inspiration from the moon and the Arctic light in combination with the snow’s reflections An important part of the design phase was site specific research by Konstantin Ikonomidis Following his earlier work and research on the subject of home, Konstantin focused on integrating landscape, culture, and human stories Marked by encounters, conversations, and inter views with the locals, the architect’s intention was to reflect these experiences, stories, and myths poetically in the design of the pavilion The project won the A+Awards

The works of Konstantin Ikonomidis bridge the territories of art, architecture, and scientific research with a special interest in extreme climates He has played a key role in the development of prototype housing that seeks to prevent the transmissions of malaria borne diseases in tropical areas of Sub Saharan Africa

Spon sor an d Patrons Napa: The No rd ic Instit ute in Greenland . Dreyers Fo undat ion, WonderGlass, Dow In c. an d TU D el f t, F a cu lt y of Arch itectu re and t he Built Envi ro nment

otos: Jul ien L anoo

Izabel Fonk on Impress Wynton x Osmium Gelding, 2013

CELEBRATING 40 YEARS OF COLOR

The Danish family owned company Montana Furniture celebrated in 2022 its 40th anniversary For the occasion the renowned artist and designer Camille Walala was asked for a fiery makeover of its factory located in a small village in southern Funen, Denmark

“Montana is synonymous with colors and has been since the very beginning With this mural, we want to create a landmark, celebrating colors and putting our Danish production facilities on the map Our new tagline is ‘Let’s create playful spaces ’ We want t o encourage the world to use more colors, but we can’t do this without walking the talk ourselves, we needed to transform our rather dull looking factory into a colorful statement: as colorful and playful as the furniture we make there,” said ceo Joakim Lassen, son of late founder Peter Lassen

London based French artist and designer Camille Walala is the founder of Studio Walala She is known for her ambitious, extensive, and colorful interventions in public spaces, where she turns dull landscapes and buildings into impressive Memphis inspired color pat terns Her work comprises majestic murals, immersive 3D installations, street art, interiors and set design with brands such as Lego, the Mauritian hotel Salt of Palmar and London Design Festival

The Walala project has been created in collaboration with Dutch multinational paints and coatings company AkzoNobel Montana Fur niture has partnered with AkzoNobel on their color palettes throughout the 40 years

The Art of Mov eme

Van C leef & Arps  the Design Museum, Enand

Previous pages: a icon of the English garden, the rose, par ticular ly visible in Van Cleef & Arpels’ creations, is a symbol of love all around the wor ld The highly detailed drawing of a Rose clip perfectly reproduces coral, an organic material celebrated in pieces during the 1970s. This page

Above: flower anamorphosis at the entrance of the exhibition The ar t of Movement dedicated to the ar t of Van Cleef & Arpel. The design Museum in London, England with interiors designed by John Pawson. Below: Dancer clip, 1941 Platinum, yellow gold, rubies, emeralds, diamonds.

Right: Leaf secret watch, 1956 yellow gold, platinum, sapphires, diamonds and Trois Clochettes clip, 1964, yellow gold, rubies, diamonds. The drawing and ar t pieces are par t of the rich Cleef & Arpels Collection.

The Art of Movement was part of a 2022 celebration in London that began with the French jewellery brand Van Cleef & Arpels’s Dance Reflections at The Design Museum in London, England.

The Art of Movement featured nearly 100 creations from the Van Cleef & Arpels archive collection, plus numerous historical documents, gouache illustrations and lender masterpieces. It is an extensive showcase that is the first of its kind in the UK.

The luxury brand is famed for its craftsmanship, artistry and pieces of high jewelry that impart movement into precious materials. The exhibition displayed emblematic pieces alongside new acquisitions and historical pieces that reflect lifestyles of days gone by. Together they show the evolution and reflection of French elegance over the decades.

Founded at Paris’ 22 Place Vendôme in 1906, Van Cleef & Arpels came into being following Estelle Arpels’ marriage to Alfred Van Cleef in 1895. Over the decades, the excellence and creativity of the High Jewelry Maison established its reputation across the world. Whether inspired by nature, couture, dance or imaginary worlds, the Maison opened the gate to a timeless universe of beauty and harmony. The headquarters of Van Cleef & Arpels remained in Place Vendome to this day, but the Maison now has boutiques in every corner of the globe.

The Design Museum is a leading museum devoted to contemporary architecture and design. Its work encompasses all elements of design, including fashion, product and graphic design. Since it opened its doors in 1989 the museum has displayed everything from an AK 47 to high heels designed by Christian Louboutin.

It has staged over 100 exhibitions, welcomed over five million visitors and showcased the work of some of the world’s most celebrated designers and architects including Paul Smith, Zaha Hadid, Jonathan Ive, Frank Gehry, Eileen Gray and Dieter Rams. On 24 November 2016, The Design Museum relocated to Kensington, west London.

Leading architect John Pawson converted the interior of the 1960s modernist building to create a new home for the Design Museum giving it three times more space in which to show a wider range of exhibitions and significantly extend its learning programmes.

Artist Andreas Angelidakis’ first monographic exhibition, ‘Center for the Critical Appreciation of Antiquity’ (2022), at the historic Paris Espace Niemeyer was the first commission by Audemars Piguet Contemporary to premiere in Paris, coinciding with the program’s 10th anniversary year as well as the inaugural edition of Paris+ par Art Basel which took place at the Grand Palais Éphémère Paris, October 2022.

The curatorial team at Audemars Piguet Contemporary worked closely with the artist to realize his largest and most ambitious artwork to date: a playful, hypnotic present day study center for antiquity

It highlighted Audemars Piguet Contemporary’s legacy of collaborating with artists to commission new works that are exhibited to a wide audience, nurturing each artist’s creativity and expanding on their practice.

Center for the Critical Appreciation of Antiquity (2022) transformed the interior dome of the French heritage monument Espace Niemeyer, designed by the Brazilian architect Oscar Niemeyer (1907–2012), into an environment resembling a site of ruin

The immersive installation, imagined as both an excavation site and a study center on antiquity and the modern city, was a reflection on how Greek culture is consumed globally today

The artwork’s multiple layers integrated architecture, archaeology, pop culture, night life and mass tourism and winked at the artist’s own personal history.

The commission’s focal point drew on Angelidakis’ extensive research into the history of the Greek Temple of Olympian Zeus in Athens. The artwork mirrored the current remains of the Temple: a monumental column surrounded by ruins

Yet the artist adapted the aesthetic by using everyday materials such as

scaffolding and fabric printing. For instance, what appeared to be details of marble Greek columns were in fact printed fabric on foam blocks.

Surrounding the central column and container to complete the Center for the Critical Appreciation of Antiquity’s study center was a mix of sculpture, furniture, and life-size books, all of which could be touched, moved, and interacted with.

The books’ pages could be turned and used as a chaise lounge by visitors The armchairs, which appeared as columns, could be sit on or stacked

Denis Pernet Art Curator, Audemars Piguet Contemporary: “We were de lighted to unveil our first commission in Paris by Andreas Angelidakis. It has been an honor to collaborate with Andreas on such a significant artwork for his practice, which is the culmi nation of his years long research. The commission has transformed the Espace Niemeyer in a way we have never seen before, and we hope that the public enjoys this immersive experience ”

Built between 1969 and 1980 by the famous Brazilian architect Oscar Niemeyer, the Espace Niemeyer at the heart of a retro-futuristic architecture in the 19th arrondissement of Paris is classified as a historical monument since 2007 It hosts all kind of events.

Niemeyer (1907 200) already famous for his avant garde architecture and the construction of the capital of Brazil Brazilia, designed the Espace for the French Communist Party.

He has been living in France for several years, having fled the dictatorship that was raging in his country.

In France, he created the cultural center of the City of Le Havre called “Le Volcan”, the Bobigny Labor Exchange, and the former headquarters of Humanity in Saint-Denis.

The Art of Silk Museum, located within The SS. Filippo e Giacomo Church in the Italian city of Maples, featured, on the occasion of Edit Napoli and as part of the Edit Cult program the international designer, Allegra Hicks, celebrated for her work that blends craftsmanship and textile art She presented her latest work, entitled: ‘Divinazione’

In a homage to the host venue, she created a 3,3 meters long and 2,2 meters wide tapestry, made from embroidered silk, with sacred references to the cult of patron saints of silk workers. Through her use of fabric, the artist reinterpreted the sacredness of a moment of self discovery, of transparency, and the passageway to self awareness

Allegra Hicks’ ‘Divinazione’ explored an inner world, a play of textures and colors that narrated a manifestation of the unconscious, as represented in the red colored tapestry, a deep and intimate core surrounded by blue, a color symbolically associated with water and air.

Above:

(image: Christopher Wahl) Right: the living area with furniture and accessories from his Avenue Road, he founded with George Yabu and Glenn Pushelberg .

curated design fun

The original house was built in the early 1 880’s and during the renovation the structural enhancements were minimal. The brief for the renovation was to open up the space, modernize it, and showcase the many European brands represented by Avenue Road.

It was a rather narrow house but due to some clever inter ventions the interior s now look spacious The back wall of the main floor was enhanced to allow for a huge wall of glass, which floods the kitchen with natural light.

The home features a living room and galley kitchen on the main level with a guest room, media room and study on the second level

Above: the living room towards the bar with on the right the stairs to the basement and the upper levels. Right; the kitchen with the huge glass wall which floods the space with natural light.

and on the third level is the principle suite, dressing space and bathroom. In the base ment they found space to create a gym.

The whole house reflects Stephan Weishaupt’s vision on design. For him, as a curator, design is about relationships. His intuition, world view, and above all, af finity for connecting people is what helps him bring the best of the world of design together into a original experience.

Born and raised in Munich, Germany, Weishaupt’s relationship with his family, a long line of entrepreneur s, architects, and carpenter s, impar ted his insatiable curiosity and appreciation of ar t and design.

These pages: over view of Stephan Weishaupt’s Toronto house. It was a rather narrow house but due to some clever inter ventions the interiors now look spacious Huge glass windows now allow to enter the room giving it a more spacious feeling The furniture and accessories are from mainly European brands featured in Avenue Road.

Af ter graduating from the Univer sity of Applied Sciences, Weishaupt worked in marketing for a luxur y automotive conglomerate before establishing his own communications consultancy with an impressive roster of design and fashion clients

His friendship with design legends George Yabu and Glenn Pushelberg ignited the idea for a curated design experience that would bring undiscovered global talent to America. Together they founded Avenue Road in 2007, with Weishaupt taking full owner ship in 2016.

A decade later, Weishaupt’s taste has received many accolades, his homes having been featured by the likes of Architectural Digest, OBJEK T International, The Wall Street Journal, and Vogue. However, true to form, his focus and his measure of success is the quality of the relationships he has built with the world’s top designer s and brands who have come to trust him as a true collaborator

Avenue Road now has locations in Toronto, Vancouver, New York , Miami Beach, Dallas and is creating exhibitions in Canada and Ar t Basel Miami Beach

Stephan Weishaupt’s appreciation for the unexpected, coupled with the respect for authentic craf tsmanship led him to join the Fogo Island Ar t Advisor y Board in 2017.

Left: the front garden of the Toronto house. Below: the gold styled gym in the basement and the study on the second floor. Right: the large multi media space on the second floor between study and guest room.

Left: the principle suite, dressing space and bathroom on the third level. It was designed as one open space connected with the terrace on the sunny side. This page: the master bathroom with wooden bathtub and below that the garden at the rear. In the back ground the large window of the kitchen and dining.

N*thing is Possible

P o tato H e a d + O M A E x p l o re Z e ro Wa s te i n H o s p i ta l i ty i n t h e S i n g a p o re N ati o n a l D es ig n Ce n tre.

The main atrium of the Singapore National Design Centre formed during the N*thing is Possible , exhibition a Waste Landscape of natural materials and waste , bamboo, timber, plastic , textile , glass, Styrofoam, cooking oil, oyster shells. The landscape illuminated how refuse can be transformed into valuable and beautiful items, and how knowledge sharing can uncover new possibilities.

The exhibition was initiated by hospitality brand Potato Head and co-curated by OMA / David Gianotten with Shinji Takagi.

Potato Head’s long-term collaborators featured in the exhibition included Indonesian architect Andra Matin, Catalan industrial designer Andreu Carulla, Jakar ta design studio BYO Living, Bali based environmental engineers Eco Mantra, American ar tist Futura, Japanese architect Kengo Kuma, British furniture designer Max Lamb, French director and photographer Thibaut Grevet, London based design studio Toogood and the National University of Singapore .

The exhibition N*thing is Possible, initiated by hospitality brand Potato Head and co curated by OMA / David Gianotten with Shinji Takagi, at the National Design Centre during Singapore Design Week 2022, explored the potential of waste and uncovered new possibilities in achieving zero waste within hospitality through cross disciplinary collaboration.

The core statement: “Zero waste and the experience of comfort and enjoyment are not mutually exclusive, and creative efforts across disciplines can transform matters at the ‘end’ of their lifecycles into a reservoir of resources There is not a single global standard for sustainability. Sustainability is an ongoing exploration of new ways of creating and living based on available local resources and knowledge sharing ”

Ronald Akili, Founder of Potato Head: “Hospitality has long been the source of so much waste and destruction, however after years of committing to doing better and making many mistakes along the way, we have discovered that it can be a force of good for the environment and local communities Through collaborations with visionaries that share our mission of building a more sustainable tomorrow, we are able to approach each problem as an opportunity to make something beautiful. We hope that our journey can inspire and facilitate change so that our industry can be a sustainable one ”

David Gianotten, OMA’s Managing Partner Architect: “The traditional model of hospitality encourages instant comfort With the wide usage of single use products, is there any chance to achieve zero waste in hospitality? OMA and Potato Head have been working together since 2012 We have been experimenting with ways to reduce waste going to the landfill through creative hospitality management, cross disciplinary collaboration, and engagement with the local community In N*thing is Possible, we share our ongoing investigation in the meaning of sustainability in hospitality and how it can be achieved.”

At the exhibition N*thing is Possible the waste management program at Desa Potato Head, a resor t in Bali was presented as open-source information.

In 2017, Potato Head, in collaboration with Bali-based environmental engineering consultancy Eco Mantra, initiated a series of government independent effor ts to achieve zero waste at the Desa Potato Head.

Right: center piece of the exhibition was a circular installation made with discarded shutters from Bali.

Photos: Studio Peripher y, cour tesy of Potato Head and OMA.

Previous pages: the spectacular house architect Tom Kundig designed in the mountains of Washington State , USA. It is conceived in the tradition of tents around a campfire with three tent-like structures surrounding the central pavilion with the family room and kitchen.

These pages: the kitchen in the central pavilion. photos: Benjamin Benschneider.

Set in the remote Methow Valley, Winthorp Washingt on State, the Studhorse complex responded t o the clients’ desire t o experience and interact with the surrounding environment throughou t all f our seasons.

Rif f ing on the tradition of tents around a campf ire, architect Tom Kundig of Olson Kundig Architects from Seattle, USA, came up with a plan consisting of three tent-like structures surrounding the central pavilion with the famil y room and kitchen.

Studhorse exemplif ied the architect’s belief that his job is t o create an experience of place. Traditional boundaries bet ween the built structure and its surroundings were purposefull y blurred, f orcing the owners t o experience the site and nature.

Four small, unattached structures are now scattered around a central cour t yard and pool. The 20 acre site is nestled in the nor thern por tion of the 60-mile-long glacial valley and the buildings are arranged t o frame carefull y composed views of the surrounding Studhorse Ridge and Pearr ygin Lake.

Public areas, including the famil y room, kitchen and bar were grouped t ogether in the main building. Pri vate areas, the master bedroom, kids’ bedroom, and den, were more secluded in the second building. Guest rooms were connected t o the buildings bu t isolated t o allow f or independent use. The sauna was placed removed from the other buildings with a framed view looking ou t over the valley below.

Tough building materials, mostl y steel and glass, were u tilized t o stand up t o the equall y t ough environmental conditions: from hot , f ire-prone summers t o winters with heav y snow pack.

The wood siding used throughou t the project was sal vaged from an old barn in nearb y Spokane, WA. The var ying t ones of the wood reveal its hist or y and use. Over time as the wood and steel weather, the home will become more and more mu ted in appearance, blending int o the landscape.

Previous page: the dining and living section of the house with spectacular views over the surroundings mountains and valleys.

This page: the complex covered with snow. Architect Tom Kundig: “The materials are tough on the outside because of the high deser t climate , but the inside is cozy; it’s like getting into a sleep ing bag, protected, warm, and dr y. The wood siding used throughout the project was salvaged from an old barn in Spokane , Washington. The var ying tones of the wood reveal its histor y and use . ”

Right: detail of the living area with the fireplace .

Boxes whin the Box

The Rue de la Gauchetière project was an apartment renovation in a hundred year-old heritage building near the Old Port of Montreal, Canada. With flexibility and light as top priorities, the Montreal-based architecture office Future Simple Studio updated the loft through an elegant and unexpected architectural intervention that accommodated flexibility and togetherness for family living, while celebrating the space’s unique industrial character.

Through its open plan, versatile bedrooms, and natural palette, the Rue de la Gauchetière loft offered a new take on city living for a young family.

The architectural team of Future Simple Studio under the guidance of Christine Djerrahian went for a simple and adaptable concept: a box inside the box.

Two glazed convertible wooden volumes were thoughtfully arranged within the concrete space. They were programmed as bedrooms and used as spatial tools to organize the residential functions of kitchen, living, dining, study, reading, and exercise. These take shape on their periphery. The bedroom boxes were fitted with a series of automated blinds, both sheer and

These and following pages: the boxes within the box that were created by the Montreal based Future Simple Studio in a hundred years old heritage building near the Old Por t of Montreal, Canada. All fur niture and other elements were designed by the Studio for this project.

blackout, that transformed them from open spaces to semi or fully private rooms. In the evening, when the sheer blinds are drawn and the lights are on, both rooms appear as floating lanterns in an open plan, creating a dream-like atmosphere that defies the traditional image of ‘home’, while providing the needed comforts.

The apartment was fitted with bespoke built-ins and furniture designed by the studio. The poured concrete bathroom sink top, custom bookshelf/desk and convertible bed frame were all inventions by Future Simple Studio.

Inspired by the original character of the apartment, a material palette was kept elemental and tactile. Walnut plywood structures reflected the earth tones of the brick walls, warm grey flooring and textiles picked up on the concrete, while glass and mirrors emphasized the airiness of the space with a constant play of light and reflection.

The ample addition of greenery added a soothing natural dimension to the loft’s downtown context.

Prada presented “Who the Bær” by Simon Fujiwara, organized with the suppor t of Fondazione Prada, at Prada Aoyama Tokyo from 15 Oct 2022 to 30 Jan 2023.

The fifth floor of the building, designed by Herzog & de Meuron, hosted an especially conceived version of Fujiwara’s show presented for the first time at Fondazione Prada’s Milan venue in 2021.

Right: Simon Fujiwara. Photo by Andrea Rossetti. Cour tesy Fondazione Prada. In the background Who’s Only Whoman?, 2021

Sculpture: wood, cardboard, paper, adhesive tape , gears, motors, magnets, cabling, metal, plexiglas, ready-made , pedal switch Plinth: wood, Plexiglas, speakers, amplifier, media player, ser vo box, wiring, lock, switch 235 x 162 x 75 cm (sculpture). Edition #2/3.

WHO THE BÆR

‘Who the Bær’ is a creation by artist Simon Fujiwara, organized for the first time at Fondazione Prada’s Milan venue in 2021. With the support of the Fondazione the evolution of the cartoon character crossed some oceans to Prada Aoyama Tokyo, Japan. On the fifth floor of the building, designed by Herzog & de Meuron, the story of Who continued in a especially conceived version of Fujiwara’s show.

‘Who the Bær’ is a cartoon character created by the artist Simon Fujiwara that takes inspiration from fairy tales, fantasy literature, animation and theme park worlds Who, as they are known, seems to have not yet developed a strong personality or instincts They have no fixed identity, no gender, and no sexuality Who does not even seem to have a clear design but is a being in the making, a self creation Who only knows that they are an image, and they seek to define themselves traversing a ‘Whoniverse’ of images ‘Who the Bær’s’ world is a flat, online domain of pictures, yet one full of endless possibilities

Through the coming of age story of Who, Simon Fujiwara explores a plurality of topics belonging to different realms: from the climate collapse to cultural appropriation, from plastic surgery to Pop art ‘Who the Bær’ can be interpreted as a distorted mirror of our society obsessed with spectacle, self representation and the search for a ‘true self’.

A series of new drawings, collages, sculptures, and animations introduces the Japanese audience to ‘Who the Bær’s’ perennial quest for an authentic self. The exhibition set up unfolds as a series of pastel colored carpeted areas exploring the many facets of Who and marking the stages of their chaotic journey. Simon Fujiwara (London, UK, 1982; lives and works in Berlin)

Top left: Vodoo Who? (from the collection of Humboldt Who), 2021. Styrofoam, nails, paint, fabric 170 x 50 x 50 cm (incl vitrine).

Photo: Andrea Rossetti. Beside that: Who is Nefer titi? (Whoseum of Anthropolog y Ar tifact), 2022 Pastel, paper and inkjet print collage Unframed dimensions: 100 x 70 cm. Cour tesy of the ar tist

Right: Return to Who? (from the collection of Humboldt Who), 2021. Styrofoam, paint, string, charcoal, vitrine 170 x 50 x 50 cm (vitrine , overall). Photo: Andrea Rossetti.

t o r o n t o city limits

The red brick house in a Victorian and Edwardian style is located in one of the green sections of the Canadian city of Toronto. Although the surrounding heritage building are century old, the house Tamary Bahry and husband Rob was recently built. While the outside architecture looks like a treasure from the past, the inside is 21 century.

Above: Tamara Barr y’s house in classic English style in a green sector of the Canadian city of Toronto. Beside that: Barbara before one of her ar tworks.

Right: dining section of the house with Eero Saarinen marble table and Fritz Hansen Series 7 chairs. All photos: Hans Fonk.

This pages; the central living space of the house with a Bellini Designs Kitchen, bar stools by Fritz Hansen, a black storage unit and couch custom designed by Christopher Spraggett, The Summerhouse Group, Lock + Quay - and ceiling lights designed by Connie Braemer. The ar t over the piano is by Barbara Bahr y. On the Mies van der Rohe Barcelona Chair a blanket by Hermès.

Tamara, a professional photographer, was determined about the looks, the layout and the interior style of the house Af ter an intensive study about classic Toronto houses, she and Rob came up with a plan that combined old and new elements

The red sandstone foundation and John Price brick became one of the corner stones of the overall concept

For the interior they skipped traditional features like ornate terra cotta patterning and fancy woodwork . They star ted from open spaces with a clean look and created a lay out hat suited there day by day life with six children. They also had their input on the looks and features of the interiors

With all the groundwork done, the called in architect Richard Wengle, builder Sher wood Custom Homes and designer Connie Braemer, who conver ted Tamara’s idea’s into a technical form that the contractors and craf tsmen could work with

Walking from the classic of the exterior to modern world of the interior is a small step for mankind: a spacious center hall with the wrought iron staircase the black and white color scheme and fine reflects Tamara’s love for Parisian style.

“Paris has always been one of my favorite cities

I loved to photograph details in the architecture and interiors that I liked. The staircase was inspired by an apar tment designed by Parisian designer Christian Liaigré, with its lacy wrought iron railings and black and white runner; the pocket doors that enclosed the homework room and a large circular ceiling detail in the front vestibule feature mirrors framed within black mullions, which recall Coco Chanel’s atelier,” according to Tamara.

On the right of this entrance is the kids’ music room, with its exposed Douglas fir beams and fireplace, with a drum kit and various guitars and

Left: the master bedroom with a view on the large staircase in the background.The round sofa chair is from Christopher Spraggett Design, the photo is by David Drebbin and the lights are by Eurolite . The photo is the hallway is by Bahr y.

Above: the kids’ music room with exposed Douglas fir beams and fireplace , a drum kit and various guitars and lined up along one wall. The ar t work above fireplace is by Tamara Bahr y. The sofa is by Roche Bobois and the light fixtures are by Holly Hunt.

Above: the homework room with the mirror doors reflecting the central staircase . Beside that the powder room area with a photograph by Tamara Bahr y and in the background works by Manny Neubacher. The light is by Restoration Hardware . Right: entrance center hall with wrought iron staircase in Parisian style .

The staircase was inspired by an apar tment designed by Parisian designer Christian Liaigré who designed the hall table . The carpet runner is by Missoni Magnum Opus Carpets. The ar t work on the wall is by wall Douglas.

lined up along one wall Next to this is the study room with built in desk and spaces for three computer workstations.

The desk in the center is Bahr y’s place to work on her photographs.

Beside elegant, the interior is also robust tot endure the whirlwinds of six kids. The solution of one big space combining living room, a large kitchen, a television space and dining area on the rear of the house, overlooking the garden and the pool seemed to have been the answer all questions.

Ever y family member can do here his and hers

own thing, but is still within touch with each other.

Tamara: “The kitchen was designed so that any member of the family, could get herself a snack and put things away af ter wards The engineered wood flooring is tough enough to withstand indoor skateboarding and Segway riding.”

From the beginning the kids were involved is the design process. This resulted is a dedicated pet room, a basement floor hockey area, and a big room across the back where ever yone could hang out.

These pages: the large pool area at the rear of the house with lounge chairs Brian Glückstein for the Bay, striped indoor/outdoor stools by Avissa Design and a sofa by Restoration Hardware . The ar t works in the pool house are by Slim Aaron.

h a rd ro c k c e r a m i c s

Previous pages

L eft: ‘Shaping the Future’ by Iris Ceramica Group is the n ew d awn of ceram ics: a con cept n arrated by t his installat ion at Cersaie 2 02 2. It is the Grou p’s constant and concrete commi tment to a bett er fu ture th ro ugh b eauty, su stai nabilit y and tech nologi cal inn ovation

Mi ddle: Under th e mot to o f ‘Bo rn to be admired’ Zenon try to be the differentiating elem ent t hat shin es t hrough and gives a un ique p ersonal ity t o th e sp ace.

Right : det ail of one of Apavisa Porcelánico’s p orcelain t iles.

These pages:

Below: Devon&Devo n cho oses Cersaie t o present t he new wallpap ers and large slabs, designed in col laboratio n with Marcel Wanders Stu dio, the K alos bath deco r collectio n by Massimo Io sa Gh ini, and the Twent ies tap l ine, d esign ed in coll aboration with Gen sler Beside th at: t he Italian comp any Aquaf orte is operat ing on the edge of inn ovatio n and traditi on, inspired by the charm and essen ce of wat er.

Right hand page: the Colaven e Group showed bathroom furniture of Axa, Colacril, Colaven e and Tamanaco celebrating the evolution of the b athroom.

Production: OBJEKT International

All images: Hans F onk

The Italian ceramic world has seen over the recent decades an explosion of creativity made possible by a continuous search for new techniques driven by the need for creative innovation.

The center of this all is the region around the Italian city of Bologna. So it is no surprise that in this city the crème-de-la-crème gathers yearly in a manifestation called Cersaie.

And that is the place where this rapid evolution is the most visible. It changed is a relative short period from a mainly gathering to an event where creativity is of essence. An event where interior designers and architects alike can find almost everything to their ceramic likings.

OBJEKT International has followed this evolution over the years and is in 2022 in Bologna present to made an exclusive reportage.

Below: Vives and Arcan a Co nnect expand ed th eir ran ges of cerami c produ cts in ’t imes of the new normal wit h rel ative no rm ality’ .

Midd le: M ainzu, l ocated in Vil areal and o ne of It aly’s pioneer companies in the field of ceramic tiles, specialized on small format tiles. S ince 2 01 0 t hey hace a techno logy to reach new limit s i n th e field of en ameling

Right: The art of the Matter by Italian bathroom furniture brand Aquap azza.

Top left : th e haut e cout ure of ceram ics by Versace Ceramics. S ince 1 99 7 th e fashion hou se h as worked wit h Gardenia O rch idea. Beside t hat: part o f th e t hemat ic exhi bitio n by Grup po Rom ani in search f or th e different facets of Tiles for Life. Here a scene i spierd by Yves Sain t L aurent’s fam ous Marrakech h ouse.

Bo ttom left: Decus Ceramica is creating sophisticated ceram ic concep ts that transmit beauty and well b eing. Beside that: lux ury ceramics by Rob ert o Cavalli Home.

Belo w: the colorfu l world of Quin tessenza Ceramica

Casalgrande Padan a has been p ro ducin g advanced ceram ic mat eri als f or over 6 0 years. Its F usio n col lection replicates th e effect s of m etal o xidati on, chrome p lating, and o ther processes, creat ing stun ning co lors an d fin ish es.

Right hand p age: Glass Design , specialized i n man ufactu ri ng artistic gl ass creation s, was fo unded in 1 98 4 in the heart of Tuscan y, Italy. Both by using t echno logically advanced materials, such as S ilicone or st ainless steel, and by working in an art ist ic way wit h tradi tional materials, t he com pany h as creat ed its own new st yle.

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ston eware: co lored m ixtu res fo r floorings and wall coverings, Ceramics Made in Italy. Midd le: Acquab ella th eir new bath tubs and whirlpo ol bat hs, sanitary t aps and fit tings, bathroo m fu rn iture an d mi rrors and dressing-t ables. Right : Idea Group at Cersaie 202 2 with a bath ro om d écor path way wh ere m aterials, in various color and finish variat ions, an d th eir abilit y to take d ifferent forms create n ew insp iration for you r daily wellb eing.

Left hand page: It algran iti Grou p presenting the results of h alf a cen tury of experien ce and research in Made in Ital y porcelain st oneware. Th is p age To p left : Cerdom us was fo unded in19 69 , alo ng th e centuries-ol d Via Emi lia, b etween Bolo gna and Faenza, the cap ital o f Italian art ist ic ceramic. A land rich in cultu re an d passion, for a Com pany co mmit ted t o offerin g uniq ue and original collectio ns. Besi de th at: Bo ttega d’Arte: a project dedi cated t o high end red body claddings t hat ech o th e beaut y of manual craf ts manship by Iris Ceramica Group . Bo tto m lef t: The Spanish Porcelano sa Grou p presented their new fl oor and wal l tiles, cl adding and b athroom equipm ent, as well as k itchen trends and new, innovat ive con struct ion systems. Beside t hat: ceramic tiles and bathroo m fu rn ish ings by F iora.

Above: a delicate creation by Azteca producer of ceramic tiles for interior and exterior flo ors an d walls sin ce 19 62 .

Right hand page: S ichenia was fo unded in t he early seventies. F or th e comp any Mad e in Italy is not just an indi cation of o ri gin. M ade in It aly represent s for th em th e perfect syn thesis of t he values th at f orm part of a po pulati on t hat h as always been exposed an d nat urally predisposed t o its cou ntry’s beaut y: hen ce the creat ivity, the p assion, th e love f or life.

MUSÉE DÉPARTEMENTAL ALBERT-KAHN

Previous pages: ar tist impression of the new Alber t Kahn museum by Kengo Kuma between the bamboo of the Japanses Garden.

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Above: Alber t Kahn on the balcony of his bank building, 102 rue de Richelieu, Paris, by Georges Chevalier1914.

© Dépar tement des Hauts-de-Seine/ Musée dépar temental Alber t-KahnCollection Archives de la Planète .

Right hand page: Untitled, Séville Espagne , by Auguste Léon, 1914, autochrome , 12x9cm.

© Dépar tement des Hauts de Seine / Musée dépar temental Alber t-Kahn - Collection Archives de la Planète .

Albert Kahn (1860 1940) was a French banker and philanthropist. After becoming a bank clerk in Paris.

In 1879, he studied for a degree in the evenings. His tutor was Henri Bergson, who became his lifelong friend.

Graduating in 1881, he continued to mix in intellectual circles, making friends with Auguste Rodin and Mathurin Méheut.

In 1892 Kahn became a principal associate of the Goudchaux Bank, which was then regarded as one of the most important financial houses of Europe. He also promoted higher education through travelling scholarships.

In 1893 he acquired a large property in Boulogne Billancourt, where he established a unique garden landscape. Here he created a variety of garden styles in cluding English, Japanese, a rose garden and a conifer wood. The garden brought together distinct traditions (French, English and Japanese), as if to illustrate the utopia of a world reconciled, where different realities can coexist in perfect harmony.

This became a meeting place for French and European intelligentsia until the 1930s when, due to the Crash of 1929, Kahn became bankrupt. The garden was turned into a public park in which Kahn would still took walks.

Another of his great legacies is the ‘Archives de la Planète’, a photographical endeavour to document world buildings and cultures. It all started while returning from business trip to Japan in 1909 with his chauffeur and photographer Alfred Dutertre, bringing back many photographs of the journey.

This propelled his desire to make a more than unique pho tographic record of the entire Earth. He appointed Jean Brunhes as the project director, and sent photographers to every continent to record images of the planet. They used the first practical medium for color photography, Autochrome plates, and early cinematography.

Between 1909 and 1931 they collected 72,000 color photographs and 183,000 meters of film. These formed a unique historical record of 50 countries, known as The Archives of the Planet accomplished in in a time when travel equaled exhibitions and photography equaled a technical operation.

Kahn's photographers also began documenting France in 1914, just days before the outbreak of World War I, and by liaising with the military managed to record both the devastation of war and the struggle to continue everyday life and agricultural work.

Since 1986, the photographs were stored in the old museum at 14 Rue du Port, Boulogne Billancourt, Paris, at the site of Kahn’s garden. Transformed into a French national museum, the site now includes four hectares of gardens, as well as the new museum which houses the historic photographs and films.

Above: Georges Chevalier, 1920. M. Masson fils and his crew on the quay before a fishing trip, Finistere , Bretagne , France , © Département des Hauts de Seine / Musée dépar temental Alber t-Kahn - Collection Archives de la Planète .

Right: Stéphane Passet, 1930. The return of Costes and Bellonte after their triumphant flight Paris New York Le Bourget. Autochrome , 9x12 cm.

Winner of an international contest, Kengo Kuma’s design for the new pavilion in the garden of the musée départemental AlbertKahn revolved around nature.

It opens the dialogue between the new building and the surrounding gardens through an archi tectural element from traditional the Japanese architecture, the ‘Engawa’, the border space between the inside and the outside The integration of this element in every building creates unity between the various site areas while forging a strong identity, coherence, and sense of a whole reinforced by the continuous echo of the materials chosen: light wood, bamboo, and metal.

Characterized by the appropriation of many traditional Japanese techniques respectful of the environment, Kengo Kuma’s work is often described as a synthesis between the East and the West.

From the Archives de la Planète . Above: Fernand Cuville , Little girl at the foot of a basin in the Basilica of San Zeno, Vérona, Italy, 1918.

Right: Stéphane Passet,Yonghegong (Palace of Harmony and Concord), Beijing, China, 1913, autochrome, 12x9cm. © Département des Hauts de Seine / Musée dépar temental Albert Kahn Collection Archives de la Planète.

Left-hand page: Japanese village houses at the Musée dépar temental Alber t-Kahn. Photo Olivier Ravoire . This page: the glasshouse is the garden. Photo: Olivier Ravoire . The contemporar y Japanese garden and the Vosges forest.

Photos Willy Labre .

The Gardens of the World

The Gardens of the World was a garden Kahn created in Boulogne Billancourt, just aside Paris. Here he established this unique garden containing a variety of garden styles including English, Japanese, a rose garden and a conifer wood It became a meeting place for French and European intelligentsia until the 1930s.

After the Crash of 1929, the garden was turned into a public park in which Kahn would still take walks. The garden brings together distinct traditions (French, English and Japanese), as if to illustrate the utopia of a world reconciled, where different realities can coexist in perfect harmony. It houses now the unique Albert Kahn Museum.

Camille Sauvageot and Lucien Le Saint, 1919. Still from a black and white 35 mm movie: a plane over the battle grounds. By liaising with the militar y Kahn managed to record the devastation of World War 1.

Fo u r P i n e s o f Wyo m i n g

Inspired by Swiss mountain chalets and rooted in the vernacular form and materiality of the American Mountain West, Four Pines is a retreat for a Chicago based family.

The 9,090 square foot, seven bed room, seven and a half bathroom home capitalizes on Jackson Hole’s natural environment while providing ample space for family and guests.

The house was designed by CLB Architects with Andy Ankeny, as principal and Brent Sikora, as project manager, to complement the owner’s private art collection, including artists such as Richard Serra, Deborah Butterfield, Roy Lichtenstein, and Purvis Young.

The interior design was by Soucie Horner and the landscape by Hershberger Design. The lighting was done by Paul Hixson Helius Lighting Group.

Located in a dense neighborhood at the base of Jackson Hole Mountain Resort, the house is strategically sited to maximize surrounding mountain views while retaining privacy. A simple gable form on a stone plinth is seen on approach.

Large window openings are screened with wood slats to provide seclusion from the neighbors and admit filtered light into interior spaces.

Upon entry, a custom glass staircase creates transparency and allows the client’s art to be the focal point, setting the stage for the experience of the home

Passing through the entry and the home’s gallery space, the west facing volume employs a flat roof and an expansive wall of glass, adopting the feel of a modern pavilion. The pavilion frames views of the ski resort and adjacent peaks.

A carefully chosen, yet reductive, material palette lends a sense of simplicity and timelessness. Local grey quartzite mimics surrounding ranges and rock formations.

The stone adds texture to the exterior and breaks up the vertical cedar siding pattern. It also reappears on the columns and chimney that define the public spaces within the pavilion.

Interior surfaces are clad in wood and plaster to engender warmth but not to compete with the art. The formal proportions, material consistency, and painstaking craftsmanship were deliberately considered to enhance privacy, serenity, and a profound connection to its mountain setting

d e l i g h t f u l d e l i g h t f u l a m s t e r d a m a m s t e r d a m

Pre vi ou s an d th ese p ag es: t h e l i vin g an n ex d ini ng ro om in a restored Amste rd am Canal House, dating back to the 1 7th century. It was t ran sfo rm ed by Am st erd am based stud io i2 9 i nt o a m od ern a nd t ran sp are nt h ou se, whi le using every inch o f th e relatively smal l place. Th e k it ch en spa ce o n t he g rou n d fl oo r wit h wh ite con cret e an d ligh t wa ll, ha s a cu stom d esi gn ed o ak ki t ch en a nd di ni n g ta bl e. The g ree n g la ss vo lu m e m ar ks t h e h id d en , gu est room with bathroo m and garden access.

Phot os: Ewo ut H uibers.

amsterdam based studio, i29, converted a neglected 17th century canal house into a bright home with unexpected views and room for discovery

the house, located along the canals near amstelveld, was originally built in 1675. Over the years, in had been neglected and fallen into a state of near total ruin the renovation took more than 2 years to execute in collaboration with a team of specialists.

the new interior highlights different areas in a new perspective in the monument

Original details are variously exposed or hidden in the rooms.

to create unexpected sight lines and to create a spatial experience, the different spaces are connected by allowing color or finish to seamlessly blend from one space to another. in contrast to the existing structure, new interventions and finishes by i29 are clearly recognizable

the kitchen space on the ground floor is finished in white concrete and features light walls and a custom designed oak kitchen and dining table Passing through it, a green glass volume marks a hidden, fully equipped guest room with an en suite bathroom and garden access.

the kitchen is visually connected to the study room above through a gray stained oak wall, which also forms a beautiful entrance to the rooms above.

This page: see t hrough f rom living area to one of the bed ro oms and th e rot ating b ook wall in t he livin g room.

Right hand page: the master bedroom, wit h its origin al roof constructi on.

Next pages: the bat hroom is a mirrored space that encloses both the stairwell and the shower.

that same gray continues into the living room, but in the form of a fabric wall covering for acoustics. Behind the rotating book wall in the living room, another hidden area reveals a reading or relaxation space, engulfed in a calming blue finish

the design of the upstairs sleeping quarters radiates comfort and luxury. the master bedroom, with its original roof construction, is separated from the bathroom by a mirrored volume that encloses both the stairwell and the shower area.

the shower walls are constructed with two way mirrors, enhancing direct views of the canals the adjacent bathroom features a traditional Japanese bath and freestanding matching sink, both in wood all of the new and clearly designed inter ventions are tailor made for this 17th century house and blend into the existing environment, yet also raise the quality of the house to a higher level that is ready for the next generation.

S L I C I N G T H E F U T U R E

FEADSHIP

Ab ove: F eadship’s revolut ionary and gam e changin g concep t yacht, Slice, unveiled at t he 20 22 Monaco Yacht S how.

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challenges presented t o them b y the world’s most discerning owners, Feadship challenges themsel ves. For over a decade, the world class yacht builder’s design and innovation teams have been designing full y engineered concepts t o inspire fu ture owners.

At the 2022 Monaco Yacht Show, Feadship unveiled its eleventh revolu tionar y and game changing concept yacht , Slice.

Based in the Netherlands and with roots dating back to 1 849, Feadship (First Expor t Association of Dutch Shipbuilders) is one of the world leaders in the field of pure custom super yachts.

It was of ficially launched at the 1951 New York Boat Show, which showcased the use of steel, a yacht technology unused then in Nor th America for yachts. Feadship is a cooperative venture between two shipyards Royal Van Lent Shipyard and Koninklijke De Vries Scheepsbouw Both share the design and engineering center, De Voogt Naval Architects.

Faedship’s latest concept, called Slice, is a revolutionar y 85 metre yacht that tackles one of the biggest owner grievances in yacht design: long hallways, dark interiors and stacked living spaces. Engineered with a glass strip running entirely from bow to stern, allowing for natural light to filter in through multiple decks, ‘turns the inside out and the outside in,’ said Studio De Voogt Lead Designer Chris Bottoms and Head of Design Tanno Weeda

Feadship completely reimagined a yacht from inside out. In sim plest terms, the designers sliced their CAD model right down the

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Top: the own er’s b athroom on Slice, the revo lutio nary new yacht by F eadship. Beside th at: t he livi ng area. Abo ve: th e poo l and beside t hat the sky lo unge. Bot tom: the owner’s stat e room .

centerline and pushed the halves apar t to make room for a strip of glass running from bow to stern It is not glass alone, but glass overlaying a structural framework that lets natural light filter through multiple decks. It is a far more challenging plan than a series of skylights; it totally redefines the relationship between spaces throughout the interior of the yacht

Having a slice running down the middle opened up countless spatial and lighting possibilities. Corridors became so much more than just hallways transitioning from one space to another: they have their own purpose and become enjoyable spaces in their own right

The hear t of the yacht is the monumental 70m atrium at the main deck level. Uninterrupted by a staircase, its cascading circu lar balconies open a wide range of possibilities for lighting and ar t installations

Another striking feature of Slice is a 10 metre long pool designed using data science. Of ten used to determine hull ef ficiency, com for t at sea and at anchor calculations, the design team em braced data science to define the pool’s shape and placement of hidden dampers to conquer slosh

New is the use of ultra high modulus material inspired by Formula 1’s research into high tensile carbon fiber. While F1’s high tensile carbon fiber wasn’t stif f enough for yachting needs, the De Voogt team worked with carbon fiber manufacturers to develop their own specific ultra-high modulus material

“The strips we bonded to the main girders of a wheelhouse deck are two times higher stif fness than steel but are lower in weight than aluminum,” according to the designers.

Slice’s propulsion system will be powered by four dual-fuel generators modified to run on both methanol and non fossil diesel (Hydrotreated Vegetable Oil HVO) and the generated power will be delivered to two Azimuthing pods. This gives the vessel a maximum speed of16 knots and a cruising speed of 11 knots

The interiors were designed by Dutch designer Marco van Ham with the specific demand to avoid teak entirely. He brought in a palette of backlit marbles and onyx, sur faces formed of liquid metals, silver leaf, shagreen, straw marquetr y and even pyrite with juxtapositions of shiny and matte sur faces

These page: the h eart of F eadsh ip’s Slice is t he mo numen tal 7 0m atrium at mai n deck level. Un interrupt ed by a st aircase, the at ri um is mo re than a lobb y but a destin ation in it s o wn right f or guests mo ving fo re and af t. Its cascad ing circular b alconies op en a wide range of po ssibilit ies for ligh ting and art i nst allatio ns.

Ab ove: S lice’s 10 met re long p ool. Oft en used t o determin e hull efficien cy, co mfort at sea and at anchor calcu latio ns, the desi gn team embraced data science to d efine t he poo l’s sh ape and placemen t of hidd en dam pers t o con quer slosh. Right hand p age: part of the at riu m. The interior of t he yacht was d esign ed by D utch design er Marco van Ham with the speci fic dem and t o avoid teak en tirely. Warm neu tral fab rics evok e a spirit of cal m relaxat ion. Undulat ing lin es i nform the floors and most of th e furnit ure reflects organic shap es an d is kep t low t o avoid obscuring vi ews.

Pa r i s a n d M a i s o n&O bj e t s e n s o r y e x p e r i e n c e d

The city of Paris is a festival of interior decoration and textile, gastronomy and luxur y fashion brand

Left: window display of the signature Gucci handbag line known for its cur ved half-moon shape and its defining piston hardware, the Jackie 1961 stor y It is retold with a contemporar y edge in an array of sizes, colors and materials.

Right: one of the presentations by Her mès at its shop at the rue du Faubourg Saint Honoré.

Paris, France has always been the capital of interior decoration and the creative center for textile design. It has the flair to translate essential classics into modern styles without losing the connection with its heritage.

Within this setting the biannual interior event Maison&Objet is looking for new directions. Together with the city of Paris it is making frantic efforts to conquer its place in the world of furniture design, traditionally the domain of the Italian city of Milan.

Initiatives as Paris Design Week and an elaborate digital search system for design items must make the Parisian design scene more accessible and attractive.

OBJEKT International is in Paris to explore the Maison&Objet event and some of the design presentations around the city.

A warded designer of the year 2022 was designer and interior designer Cristina Celestino. This discrete designer, who exudes exquisite and dazzling creative flair, is set to throw open the doors of her ‘Palais Exotique’ for the duration of the MAison&Objet fair, momentarily whisking us off into another reality

Color Power by Elizabeth Leriche assisted by Natacha Baptiste and Clara Berrier for Maison&Objet September 2022. The rich, thoughtful palette energizes and sets the tone for interiors and provokes our senses and emotions. Fur niture by Popus Editions, textiles by Elitis, carpet by Chloé Negre and cushions by Lindel & Co.

Left hand page: ‘Waww la table’ is a weekly Instagram contest showcasing grid wor thy table settings that all have one thing in common: the wow factor. The entries are judged by an impressive jur y: Michelin-starred chef Thierr y Marx, accomplished designer India Mahdavi, and French TV jour nalist and royal exper t Stéphane Ber n.

At Maison&Objet, the contest was set to go ‘pro’ with a special edition for the trade fair’s brands and exhibitors, with the three best entries winning the oppor tunity to be placed under the spotlight at the event

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Top: Sieger by Fürstenberg tumblers designed by Michael Sieger for manufacturer Porzellanmanufaktur Fürstenberg.

Bottom: The Foundation Le Corbusier presented ‘Fragments’, a collection of fur niture and objects designed by Anthony Guerrée and edited by M éditions.

The presentation took place at Maison La Roche built between 1923 and 1925 by Le Corbusier and Pierre Jeanneret Maison La Roche is a unique architectural project. Indeed, the originality of this house is that it combines an ar t galler y and the apar t ments of the owner and collector, Raoul La Roche.

The Maison La Roche is located at the end of the impasse du Docteur Blanche in the 16th arrondissement of Paris.

The use of new building materials such as reinforced concrete allowed Le Corbusier to implement what he called in 1927 the ‘’Five Points of a New Architecture’’.

These are the open facade, the open plan, the long windows, the roof garden and the pillars The Maison La Roche is an emblematic example of the Moder n Movement, preceding the Villa Savoye (1928) in Poissy.

This page: creation by Sanne Terweij, Rising Talents A wards Craft winner at Maison&Objet, Paris Sep tember 2022. Bor n in Amsterdam in 1984, she ini tially studied both jewelr y and color consulting, and now works as an ar tisan and ar tist. She was nominated by Les Ateliers d’Ar t de France and the Crafts Council Neder land.

Right: creation by Thierr y Laudren, France.

Background: Reminisens Experience, an evolving installation built to a square design. Inspired by ancient times and imposing architecture, the mise en scène designed by Atelier Athem was suspended within the space of the Maison&Objet, Paris. Like a temple, this peripheral structure, with corridors all around the edge, created an ephemeral effect, like the ghost of a building Its sheer size contrasted with the delicate textiles, since the whole of the structure is made up of fabrics of different densities and textures, tailor made and recycled, including some from the LcD Textile Edition collections.

Foreground: Burnt Out (small candle holder) by Xanthe Somers, 2022. Glazed stoneware. H47 x W59 x D30 cm. Photo: Deniz Guzel, cour tesy Galerie Revel and Xanthe Somers.

Above: craftsmanship, design, innovation and know how are the winning cards of the LaErre company. LaErre was bor n from a vision of Riccardo Redaelli: to transform a trunk from a simple object dedicated to trans por t into a functional product The trunks have a strong aesthetic impact and are characterized by a recognized and recognizable stylistic figure Right: French interior design agency, Pinto, founded 50 years ago, continues to reinvent itself today under the impetus of its new owner and co ar tistic director Fahad Hariri, alongside Pietro Scaglione. They presented the Capsule Collection with the special sofa and the Sculpture Armchair, designed by Stefano Pilati. The armchair is a bronze piece of ar t: lost wax casting process. Limited edition of 8 pieces.

The September 2022 edition of Maison& Objet celebrated seven Rising Talents from the Netherlands.

The jury consisted of the well known Dutch designers Jury Wieki Somers, Kiki van Eijk, Hella Jongerius and Ineke Hans.

Left: presentation by SeokHyeon Yoon, from South Korea, studied industrial design at Kookmin University in Seoul before graduating from the Design Academy Eindhoven Wieki Somers: “Seok Hyeon has a delicate signature. His work fits in the Dutch design tradition as it is both conceptual and aesthetic . ”

Above: Gravity collection by Atelier Fig. Kiki Van Eijk): “What they are doing is ver y innovative. It involves pro found experimental research ” Right: Visser & Meijwaard “They are some of the few people I’ve seen over the years who have a real master y of product design,” accordng to Ineke Hans.

Left: Coffee Pot and Knop chair by Studio Hanna Kooistra. According to Kiki Van Eijk, Hanna really follows her intuition and is confident she’s taking the right path. I’m sure it will lead her to surprising results.

Above: a creation by Theophile Blandet bor n in Strasbourg and graduated from the Design Academy Eindhoven. Jur y member Hella Jongerius: “The freedom, the joy of making, the clever ness, the beauty and detailing are all revealed in his objects, semi functional products, ar t pieces and installations ”

Right: presentation by Simone Post. Ineke Hans: “I like Simone’s energy, I like her handwriting. She’ll be a person in design we’ll see for a lot of years to come.”

TRADITIONAL TUNE MODERN SONG

Staf fan and Monique Tollgård

“We were asked by long standing clients to bring their unique cultural and personal energy to a magnificent Belgrave Mansion, London, England.

The architecture and interiors had been painstakingly realized by the original owners; our work was to bring the family’s belongings and artwork into this traditional canvas and make it sing. We wanted to paint that canvas with the unique cultural and personal energy of our clients, utilizing their existing art, lighting, and furniture collections to run a vibrant red thread throughout.”

The designers Staffan and Monique Tollgård.

Taking inspiration from the architecture and setting, they created an elegant and decidedly vibrant red thread through the interiors The period setting now embraces future heirlooms from contemporary craft masters like Ceccotti Collezioni, Promemoria, Giorgetti and Overgaard & Dyrman

This resulted is spaces that each feel elevated in their expression and still encourage conversation and connection.

The interior project has a dark theme throughout, with darker walls and ceilings that worked especially well in the designers’ desire to help their clients to escape daily life and go somewhere fun.

“The key was to not fight the darkness but to work with it. This was our approach with the basement, a space for our clients to disconnect from the world and find fun with

friends and family The deep inky blue paneling and walls were the perfect backdrop for the bar, executed by joinery specialists Realm Design decisions like the furniture and lighting were all centered adding stars to the night sky ”

“In the interiors traditional furnishings were combined with bright contemporary artwork Being inspired by the extraordinary architectural features of the rooms, we wanted a contemporary story to tell So we needed to find the right language to fuse old and new The answer was a cast of strong characters: future heirloom pieces that could hold their own in this period setting together with works from the client’s art collection that possess a similar strength of voice for this new setting ”

On of the primary tools to make the traditional canvas sing was the lighting.

Previous pages: the living room in a traditonal Belgrave mansion designed by Staffan and Monique Tollgård. The period setting embraces future heir looms from contemporar y craft masters like Ceccotti Collezioni, Giorgetti, Promemoria and Overgaard & Dyrman.

These pages

Left: the dining room with the original wallpaper and fireplace, Overgaard & Dyrman chairs and a Ceccotti’s stained walnut dining table Middle: detail of the reception room. Right: the entrance with the two Foo dogs combined with cabinets from Italian Promemoria.

Next pages: the multi media room with inky-blue backdrop for one of the owners’ most zesty ar tworks. The sofa is by Flexform Mood. photos: Richard Gooding.

The designers: “In essence lighting is a language When spoken beautifully (fluently) it promotes warmth and communication It draws focus to what needs to be illuminated, and creates darker, moodier pools where the eye doesn’t need to be drawn For each room, we focused on the functionality of the space: what would our clients be doing and how could the lighting help elevate that experience.”

For more personal spaces like the master bedroom, they opted for simpler but equally enticing structures like the Gem Pendant from Kevin Reilly.

Incorporating the preexisting fixtures within the more formal spaces like the reception and dining rooms created an interesting challenge The clients wanted a softer ambience for these spaces at night, so the designers found a solution with the Apparatus Axon table and Lantern table lamps These were the key to introducing

warmth and a sense of occasion without over lighting the room or overwhelming the scheme.

At the entrance, the visitors are welcomed by a pair of antique foo dogs.

Carved with exquisite detail, these pieces were rediscovered from the client’s collection of artworks and worked well with the more modern elements like the Amarcord cabinets from Italian Promemoria Heirlooms of the past, present and future work are so in perfect harmony.

Staffan and Monique about the reception room: “Reception rooms can sometimes be too formal for their own good. High register architectural and interior detailing can create ‘look don’t touch’ spaces At this Belgrave project we have brought the client’s belongings, new and existing, into these classic and listed rooms We wantedto feel this space like one that was elevated in its expression andencouraged conversation and connection

Inspired by the extraordinary architectural features of the room, but with a contemporary story to tell, we needed to find the right language to fuse old and new The answer was a cast of strong characters: future heirloom pieces that could hold their own in this period setting together with works from the client’s art collection that possess a similar strength of voice for this new setting

We combined comfort and elegance by using Ceccotti sofas at the center of the room ”

A special feature of the house was the dedicated to entertaining Deep inky blue paneling and walls were the backdrop for the custom designed bar

A functional sculpture framed by the roof light is by Gabriel Scott, as are the Bardot bar stools The Harlow pendant is a reference to elegant jewelry

The Media Room also has the inky blue backdrop for one of the owners ’ most zesty artworks

These pages: the reception room where new and existing interior pieces and works from the client’s ar t collection tell a contemporar y stor y in a traditional setting. In the center a Ceccotti sofa.

LE CHIC MOBILIER NATIONAL PARIS

‘LE CHIC: DECORATIVE ARTS AND FURNITURE FROM 1930 TO 1960’, PRESENTED BY MOBILIER NATIONAL AT ‘MANIFACTURE DES GOBELINS’ IN PARIS IS SHOWCASING TOP OBJECTS FROM THAT RICH PERIOD FROM THE COLLECTION. UNDER THE TITLE LE CHIC, THE EXHIBITION REVIVES THE ESSENCE OF ‘CHIC À LA FRANÇAISE’

Left: poster for the exhibition Le Chic , at Mobilier national in Paris with illus tration by French decorator Vincent Darré , who par tnered to stage the exceptional ensembles and the great names of that decoration scene . Right: animation of the cigar lounge at the Élysée , decorated by La Maison Dominique (André Domin and Macel Genevrière). The cabinet is by Dominique and Paul Cressent. (1947) The chandelier is by Maison Fargette (1950). Carpet by Atelier d’Aubusson deigned by Dominique . Above: Manufacture des Gobelins where the exhibition ‘Le Chic’ by Molbiler national was organized, with head curator Her vé Lemoine , General heritage curator and president of the Mobilier National.

Above: during World War II, the Mobilier National kept on commissioning special interior furniture pieces with specialized craftsmen. They had to work with the materials they could lay their hands on. Here a detail of a ‘Bureau de Dame’ by décorateur Jacques Adnet and painter Jacques Despierre (1941).

Right: workplace for an embassy attaché by Raphaël Raffael.

For more than three centuries, the Royal Furniture Storage, which became Imperial Furniture and then National Furniture, has conserved, restored and maintained approximately 100,000 movable French objects and textile works intended for the furnishing of presidential residences and official palaces

The missions of the Mobilier national are to ensure the decor and furnishing of the hotels and residences assigned to the President of the Republic and the Prime Minister, the French embassies, the ministerial hotels, the hotels of the presidents of the assemblies and the offices of the heads of the major bodies the State as well as any other person entrusted with a public service mission Also to create on behalf of the State, textile works and furniture and to ensure the maintenance, restoration, inventory, enrichment, enhancement and inspection of furniture and objects belonging to the collections under its care.

Another mission is to perpetuate, transmit and develop the traditional techniques of crafts, knowledge and know how, related to restoration, manufacturing, contemporary creation and design, to conduct research to develop new techniques, new know how and new materials, as well as providing initial and professional training in the specialties of crafts and design. The exhibition Le Chic! Decorative Arts and Furniture from 1930 to 1960 is a true manifesto for the support of the crafts It covered the period with over 200 pieces from the Mobilier national’s collections

To stage these exceptional ensembles and the great names of that decoration scene, the institute partnered with the famous French decorator Vincent Darré, a true transgression expert with his chic and quirky style He also made the beautiful illustration for the show

From 1930 to the late 1950s, many of the decorators who will mark the history of these three decades of the 20th century are called to collaborate with Mobilier national: André Arbus, Jules Leleu, Jean Pascaud, Etienne Henri Martin, Marc du Plantier, Gilbert Poillerat or Raphael Raffael. André Arbus, who was very famous at the time, played an essential part in the approach to renew French decorative arts.

The conservation of the French interior design history is accomplished by the Mobilier National with the support of the Banque Populaire Foundation The bank has been supporting arts and crafts and accompanying talented craftsmen who stand out for their aesthetic vision, their exceptional capacity for experimentation and a sense of material.

Since January 2021, Banque Populaire has been supporting the Mobilier National through a multi year sponsorship agreement that demonstrates its commitment to creation, craftsmanship and culture The exhibition ‘Le Chic’ Decorative Arts and Furniture from 1930 to 1960 for them was a true manifesto for the support of the crafts

Another Patron is Ateliers de France With 1,500 companions, 41 companies and a presence in 12 countries, the Ateliers de France group has the best in the field of heritage restoration and the realization of exceptional projects, whether they be listed buildings (Château de Versailles, Château de Fontainebleau, Notre Dame de Paris, Eiffel Tower, Opéra Garnier), renowned hotels (The Peninsula, the Shangri La, The Georges V) or private residences (Yves Saint Laurent houses in Deauville and Marrakech, Hôtel Lambert, etc )

These are projects that are carried out as much as possible in house The companies are heirs to the traditions of the 17th and 18th centuries in France, faithful to ancient techniques while being modern in their approach and their creations, and routinely deploying recent techniques in the service of heritage restoration.

As for the age old know how of these compa nies, it comes from the transmission from man to man of the ancestral secrets of their trades of gilder, stone cutter, marble cutter, sculptor, staffer, ironworker, carpenter, bronze fitter or painter in decorations

Between 2021 and 2022, the Mobilier National has initiated a restoration programme on an unprecedented scale with about one hundred pieces of furniture and lamps from the 1930s to 1950s collection

This page: creations by decorator André Arbus from 1946/49 in collaboration with Sculptor Vadim Androusov and ar t ironworker Gilber t Poillerat. The cabinet is by decorator Genès Babut and sculptor Louis Leygue , 1949. Right: par t of the Le Chic exhibition was dedicated to commissions from the Mobilier National during World War II. Craftsmen had to use scarce materi als available . In the center a table from palm wood by Eugène Printz, 1943. The cabinet in the background is by decorator Jean Pascaud and ar tist Jean Denis Malclès, 1944. The chandelier is by Baguès, 1949. On the left a cabinet decorated with the Four Seasons and the Twelve Signs of the Zodiac by André Devèche , sculptor Noël Brunet and painter Marcel Mergier.

Top left: fauteuil, Les Astres, 1955, by decorator Xavier Longobardi and furniture maker Marc du Plantier and manufacture de Beauvais (tapisserie). Beside that: table with lights by Marcel Bergue, 1937. It was a celebration of electric light that was conquering the world. Center row: bureau and table by Paul Follot, 1937 and bed room by Suzanne Guiguichon (1900 1980) for the Mobilier National", 1946, with cabinet made of cherr y wood and parchment. The porcelain vases are by Roger Sivault (1950).

Left: drop-leaf secretar y by André Groult,1937, Makassar ebony, shagreen and ivor y. Beside that: desk, table and of fice chair from 1937 by Paul Follot (1877 1942). Right: armchair by Manu facture de Beauvais, after Gilberte Coutant, Maurice Dufrène upholstered in tapestry ‘Les Joies de la Vie’, 1945-1947.

This page: illustration for the Chic exhibition by Vincent Darré of the dining room of a yacht pavilion

This pages: bureau, chair and cupboard by André Arbus, 1946. The ar t object on the wall is by Pierre Bobot, 1945 and the carpet is by Ivan Da Silva Bruhns, Atelier d’Aubusson, 1945. Lamps are by, Jacques Adnet and Gilber t Poillerat, 1945.

Above: interior décoration for Le Ministère de l’Agriculture by André Arbus 1936. The parchment chest of drawers by André Arbus has a bronze Medusa head by Vadim Androusov 1936. Right-hand page: the arrival of Vincent Auriol at the presidency of the French Fourth Republic, Januar y 1947, marked the beginning of a massive renovation project of the Élysée Palace. From that period is the make up table by Colette Gueden, 1946

OBJEKT INTERNATIONAL PUBLISHING HOUSE

O B J E K T I N T E R N A T I O N A L

One of Hans Fonk’s main achievements is OBJEKT©International, the authoritative and bespoke title for the upscale urban modernist with a passion for interiors, art & antiques, modern design and outstanding architecture. Thanks to the general concept, unexpected topics, the selection of designers, and quality of the photos, OBJEKT©International has gained the highest authority in its field. The magazine was first published end of 1991.

T H E W O R L D S T A N D A R D F O R S T Y L E