SHANGHAI is the new display solution by Metalfilo, an Italian company based in north-east of the country, specialized in manufacturing systems, accessories and components for shop-fitting.

Conceived by the designer Erminio Walter Deppieri www.newtonandson.com and entirely developed and produced at the Metalfilo plants in San Vendemiano, Treviso, SHANGHAI is an innovative display structure for a large variety of merchandise needs.
Completely self-standing, the display can be installed without any tools and without drilling in floors or walls making it extremely flexible and easy-to-use.
A specific set of accessories allows SHANGHAI to be at the same time support for sales, windows and communication.

From January 2012 SHANGHAI is visible at Metalfilo headquarters and at the most prestigious showroom of shop fits. Complete information on www.metalfilo.it.
Moreover SHANGHAI will be officially presented to public during the 2012 Milan Design Week (16-22 of April) at The Fiction Hotel space in Via Tortona 26.

Bokja is a Turkish word that describes an intricately worked fabric created to cover a bride’s dowry. Lebanese designers Hoda Baroudi and Maria Hibri bring a similar passion for detail and history to the furniture which they create under the same name. Baroudi and Hibri source furniture designs from the 50s, 60s and 70s, unearthed in Beirut’s flea-markets and antique dealerships, and then cover them with exuberant tapestries and textiles from the Levant and the legendary Silk Road countries of Central Asia. Combining ancient culture with repurposed modern design, Bokja is creating one-of-a-kind pieces that offer an explosion of colour, pattern and a richly textured sense of history.

Bokja also designs its own range of products, called “Classics”, that are sometimes inspired by mid-19th century classics, but that are often completely original contemporary designs. The designers of BOKJA see the potential for upholstery in any material- some materials they’ve appropriated are VINYL from billboards, denim from 2nd-hand jeans, and newspaper, to name a few. Alongside their team of local artisans, they’ve applied their unique vision and deft craftsmanship skills to unusual objects such as a life-size Beetle they called the “Bokja Bug” exhibited at Rossana Orlandi during Salone 2010 and favored by press and design pilgrims. Spazio Rossana Orlandi was voted as one of the top 10 things to see at Salone 2010 by WGSN, the world-renowned trend analysis and forecasting agency.
n 2009, Bokja was chosen to be featured in LiEdelkoort’s (founder and former director of Eindhoven School of Design) retrospective, where she highlighted what she judged to be the most important themes that have influenced trends in fashion, photography, and design. Other designers in the exhibit included Marcel Wanders, Christian Lacroix, Studio Job, the Campana brothers and Philippe Starck, to mention a few. Li Edelkoort is one of the world’s most renowned trend forecasters. In 2003 TIME Magazine named her one of the world’s 25 Most Influential People in Fashion, and in 2004 she was listed in Icon as one of the 21 Most Important People in Design.

Bokja aims to blur the line between art, craft, and design. Its 2 talented designers regularly come out with new concepts and products that push conventional boundaries. At Salone 2010, they presented the “Conversation Sofas” 2 curved sofas positioned face to face in an “S” shape and boasting beautiful vintage and contemporary fabrics from around the world. The project celebrates the narratives and experiences that make up a sofa. The idea is that the object – in this case the sofa – is the moment from which conversations between time and place emerge, and that these narratives and stories don’t cease to exist with the object, but go on to live beyond it.
Dissected layers of fabric from the sofas were strategically hung around them at the same height and distance apart providing an autopsy-like deconstruction of the sofa – accompanied with descriptions revealing each fabric’s place of origin, context and story.
Conversations was a celebration of 10 years of Bokja.
Bokja’s products are sought out by celebrities and connoisseurs, from Christian Louboutin who regularly selects Bokja products for his showrooms around the world, to Julia Roberts, Sandra Bullocks, Kate Hudson, and Norah Jones.

project, designer: Tommaso Zennaro

(rappresentazione grafica eseguita rigorosamente a mano tramite tavoletta grafica)

 Progetto per la tesi di laurea conseguita presso il corso di Design Industriale di Tommaso Zennaro. Nato a Venezia il 16 gennaio 1990, il disegno fu una delle sue prime e piu grandi passioni (sfociando poi in diversi ambiti della comunicazione visiva, come ad esempio la fotografia).

 Cos’è l’infografica?

L’infografica è un modo di esporre dati in maniera visuale, richiede quindi una ricerca approfondita e sistematica del tema che si vuole analizzare, andando a creare un metodo che risulti uniforme ed esteticamente accattivante per rappresentare i dati raccolti e in generale il messaggio che si vuole far arrivare al fruitore del proprio lavoro.

Cos’è Sea Shepherd?

Sea Shepherd Conservation Society è un’associazione no-profit fondata da Paul Watson (uno dei co-fondatori di Greenpeace) nel 1977 che si occupa della difesa dell’ambiente e della fauna marina. In particolare è famosa per le sue tecniche di combattimento per così dire “attivo” per fermare la caccia di balene nei mari dell’Antartide. Grazie all’uso di 2 navi e di un catamarano, Sea Shepherd ogni anno si reca a sud dei mari australiani per intercettare e bloccare la caccia di balene da parte della flotta giapponese nelle acque protette del Polo Sud.

Il progetto

Il tutto è quindi partito dall’  ammirazione per l’attività di questa associazione,  decidendo così di realizzare questa serie di poster che,in linea teorica, sarebbero poi stati messi in vendita sul sito online dell’associazione in modo da raccogliere fondi tramite la vendita, in quanto i finanziamenti sono basati unicamente su donazioni.

I poster si dividono in più aspetti e coprono a 360° la pratica della baleneria, fornendo dati oggettivi riguardo questa attività, raccolti da enti riconosciute sia pro che contro la baleneria.

Tutti i poster sono stati stampati su telo nautico impermeabile, con agli angoli un occhiello metallico, che conferiscono al progetto un aspetto più nautico. La stampa è stata realizzata in bicromia Cyan – Nero, con valori specifici sia per quanto riguarda le illustrazioni che le titolazioni, in modo che l’immagine di ogni poster sia uniforme e ben riconoscibile.

I primi 3 poster descrivono brevemente le 9 specie di balene più cacciate, con un breve testo  che introduce le caratteristiche principali, affiancato da icone che illustrano durata delle immersioni, peso, velocità di nuoto, dimensioni, dieta, habitat dell’animale e rischio di estinzione dello stesso secondo un valore riconosciuto internazionalmente stilato da IUCN. Il tutto affiancato da illustrazioni create da me che rappresentano l’animale in modo dettagliato.

Il progetto rappresentato per intero si può trovare qui.

Where: Iceland

A design that transforms mundane electrical pylons into monuments on the Icelandic landscape.

The project was initially submitted for a 2008 competition held by the Icelandic power transmission company, Landsnet, in conjunction with the Association of Icelandic Architects. The submitted design consisted of a single male pylon-figure as shown in the images and description on the file “Choi+Shine – pylon competition document (small)” and on the submitted board “Choi+Shine – pylon comp board (press)”. The Icelandic jury awarded the design an honorable mention.

At the award ceremony, Landsnet asked Choi+Shine to submit the design of the female pylon-figure, which was shown as a sketch on the competition board. Landsnet expressed interest in building the male and female pylon-figures as functioning monuments at the gateway to Reykjavik. Perhaps due to Iceland’s unfortunate economic crisis, the pylonfigures have not (yet) been constructed. The male and female pylon-figures were sent to Landsnet in 2009. A patent was granted for the design submitted to the Iceland competition.

Making only minor alterations to well established steel-framed tower design, Choi+Shine has created a series of towers that are powerful, solemn and variable. These iconic pylon-figures will become monuments in the landscape. Seeing the pylon- figures will become an unforgettable experience, elevating the towers to something more than merely a functional design of necessity.

The pylon-figures can be configured to respond to their environment with appropriate gestures. As  the carried electrical lines ascend a hill, the pylon figures change posture, imitating a climbing person. Over long spans, the pylon-figure stretches to gain increased height, crouches for increased strength or strains under the weight of the wires.

In addition, the pylon-figures can also be arranged to create a sense of place through deliberate expression. Subtle alterations in the hands and head combined with repositioning of the main body parts in the x, y and z-axis, allow for a rich variety of expressions. The pylon-figures can be placed in pairs, walking in the same direction or opposite directions, glancing at each other as they pass by or kneeling respectively, head bowed at a town. Despite the large number of possible forms, each pylon-figure is made from the same major assembled parts (torso, fore arm, upper leg, hand etc.) and uses a library of preassembled joints between these parts to create the pylon-figuresʼ appearance. This design allows for many variations in form and height while the pylon-figures cost is kept low through identical production, simple assembly and construction. The pylon-figures are designed to provide supports for the conductors, ground wires and other cables all within required clearances. These clearances are maintained in the various shown positions. The towers are largely self-supporting, sitting on concrete footings, perhaps with the addition of guy wires, depending on requirements of the loading wires.

Like the statues of Easter Island, it is envisioned that these one hundred and fifty foottall, modern caryatids will take on a quiet authority, belonging to their landscape yetserving the people, silently transporting electricity across all terrain, day and night, sunshine or snow.

Where: Philippines

Kenneth began his passage to design in 1987 studying Industrial Design at Pratt Institute in New York. While completing his degree, he apprenticed for a leather and wood workshop near Florence, Italy. In 1994, he studied Furniture Marketing and Production at the Export Akademie Baden- Württemberg in Reutlingen, Germany under a private and state scholarship program, and subsequently worked in Bielefeld and Munich.

Phoenix

Kenneth Cobonpue’s creations have earned him recognition at home and abroad. Awards to his credit include 12 Mugna and 4 Katha Awards for design excellence at the annual Philippine International Furniture Exhibition. The Japan Good Design Award was presented for 5 of his designs. In 2004, he won first prize at the Singapore International Design Competition for the Croissant Sofa. Kenneth also won a Golden Shell Award in 2002, a citation given by Philippine President Gloria Macapagal Arroyo, for embodying the ideals of Asian design. In 2003, he was chosen as one of the Ten Outstanding Young Men of the Philippines for his achievement in the field of Arts & Design. In 2005, Kenneth won the Design for Asia Award of Hong Kong, Asiaʼs highest award, for the Lolah Chair. “Wallpaper” magazine also nominated him as one of the icons of contemporary design along with such world luminaries as Philippe Starck and Antonio Citterio.

Phoenix

Phoenix explores the possibility of using sustainable natural materials in transportation design. Kenneth Cobonpue and Albrecht Birkner wanted to create a lightweight yet economically viable concept car made of bamboo, rattan, steel and nylon. Phoenix was entirely handmade by a team of skilled weavers and craftsmen in only 10 days. This project attempts to unveil the future of green vehicles using woven skins from organic fibers mated to composite materials and powered by green technology.

Cars have always been a product of heavy industry using tremendous resources, expensive tooling and excessive energy. Phoenix challenges convention by sourcing renewable materials from the earth and using a frame that is built by hand using very minimal tools and energy. Today, cars are engineered and built so well that they actually outlive their purpose. People replace their cars every 5 years in industrial countries and 10-20 years in developing countries. Because of this, disposal becomes an environmental problem. Phoenix introduces the concept of a naturally woven skin which biodegrades together with the life of the car. Should a carʼs life extend longer than average, this shell can be replaced inexpensively. No longer a product of automation, Phoenix brings back the dignity of the human being and pays homage to the skills of the craftsman. In addition, because it is handmade, frames can be customized according to the needs of the individual.

Bloom

Welcome the organic beauty of the garden indoors. Inspired by a delicate blossom, Bloom is composed of hundreds of fine running stitches that radiate from the center of the seat. Handmade in microfiber stitched over a resin top, Bloom sprouts from a base made of steel.

Recent works have produced critical acclaim within the design community. Several of his designs were selected for the prestigious International Design Yearbook (Laurence King Publishing) 2002 edition, curated by Ross Lovegrove, the 2004 edition, curated by Tom Dixon and the 2005 edition curated by Marcel Wanders. Phaidonʼs new 2007 book & FORK underscores Kenneth’s position as a leader of a new movement incorporating new technologies with crafts. He has appeared on European television including Deutsche Welle and Dutch TV, countless international magazines such as Wallpaper, Newsweek and TIME Magazine, and respected newspapers including The Washington Post and the Shanghai Daily News. Various Cobonpue designs have also appeared in full-length feature films and television such as Oceans 13 and CSI. Kenneth reveals new work each year in design shows from Paris to New York. He also speaks regularly about Southeast Asian design all over the world.

FLOS, azienda italiana leader nel settore dell’illuminazione, è lieta di annunciare l’apertura di due nuovi spazi retail sulla West Coast degli Stati Uniti: a Los Angeles e San Francisco.

Il negozio di Los Angeles, situato al n. 303 dello storico Robertson Blvd, fa parte del Gruppo Diva, meta frequentatissima per la ricerca di prodotti moderni e contemporanei di arredamento e illuminazione di fascia alta. Il negozio è stato inaugurato ufficialmente il 29 novembre. Il Presidente e AD di FLOS, Piero Gandini, è intervenutoall’evento di apertura, insieme a un ospite d’eccezione, il designer Ron Gilad.Nello showroom sono esposte le icone più conosciute di FLOS, come Arco, Taraxacum and Toio dei fratelli Castiglioni;insieme a novità più recenti, tra cui la spettacolare Wallpiercing, le semplicissime ed eleganti Lightspring e La Linea, l’originale lampada da tavolo Miniteca, tutte disegnate da Gilad; e ancora, Ktribe di Philippe Starck, Glo-Ball di Jasper Morrison, le due sospensioni Skygarden e Zeppelin di Marcel Wanders, e tanti altri prodotti.

Los Angeles

Lo shop in shop di San Francisco è collocato invece all’interno dello showroom Dzine, nel design district. L’area di vendita è stata inaugurata ufficialmente il 30 novembre, nel corso di un evento esclusivo al quale sono intervenuti lostesso Presidente e AD di FLOS e il designer Ron Gilad. I prodotti di illuminazione di Flos qui sono esposti in uno spaziodedicato all’interno del negozio e in una vetrina centrale, il cui allestimento sarà curato a rotazione ogni tre mesi daun diverso designer locale di San Francisco. La vetrina inaugurale è un progetto di Nicole Hollis.In aggiunta a un’ampia gamma di lampade decorative, Dzine ha voluto includere nell’esposizione diverse soluzioniinnovative per il contract e il settore hospitality. La collezione Soft Architecture di FLOS propone un’illuminazione chesi fonde in modo naturale con l’architettura che la circonda. Creata grazie a un composito materiale innovativo(tecnologia Under-Cover) che unisce leggerezza ad elevata resistenza, è in grado di assicurare performance edurabilità nel tempo, donando ad ogni ambiente una fisionomia unica. Inoltre risponde alle più recenti normativeinternazionali in tema di sicurezza ed eco compatibilità.

San Francisco

Images: Iwan Baan

Urban farming is a fast growing phenomenon where the typically rural practice of agriculture is brought into the city. The picNYC table goes one step further and brings the rural experience of picnicking not just in the city, but into the residence. The folded lightweight aluminum table top and legs form a stiff framework for the grass, soil and stones (needed for drainage). The picNYC table creates a surreal experience of nature in the city that literally transforms dining. Suddenly spilling water becomes a necessity instead of a problem and wine glasses need coasters not to prevent ring stains but to avoid tumbling. Included in the rural experience is the maintenance of the grass. No table grass mower yet exists and the grass therefore needs to be cut by hand.

Depending on the number of cuts, maintenance, usage, sunlight and season, the PicNYC table responds with a variety of colors to the conditions set by the owner. However, the color can always be reset to bright green since fresh sod is available year round. Based on the concept of transposing natural experiences to the residence, endless alterations are possible with flowers, herbs or even vegetables. Depending on the needs and green thumbs of the owner, the PicNYC table brings various degrees and qualities of the rural experience into the urban residence. As a consequence, the PicNYC table transforms dining into a feast at a new intersection of nature and city.

pics & elaboration by Francesca Trevisan

Francesca Trevisan is 20 years old, currently living in Padova, Italy, but has travelled all over the world. Her works are full of contrasts between hard and soft, photography and geometry, order and chaos.

For the couple behind Jamin Puech handbags, vintage fuels inspiration.

Stylist and text by Matias Errazuriz
Photography by Fabien Lemaire.

With its exposed bricks walls, faded furniture and quirky kitchen, Isabelle Puech and Benoit Jamin’s atelier is a textbook example of the power of vintage style. ‘We are collectors, and our finds inspire the way we live and work’, says Isabelle.The space is a cornucopia of collections, some created by the couple’s artist friends. most bought from Parisiam flea markets.

It is both edgy and nostalgic, yet very welcoming.
The couple-who met in the late Eighties and designed accesories for the likes of Chloe, Chanel and Balmain, before concentrating on their own label- fell in love with the space back in 2000. Set at the end of courtyard in Pari’s 9th arrondissement, within spitting distance of the grands magasins, its central location was perfect.

“We bought the ground floor and basement which, at the time, was a repair workshop for meery-go rounds”, says Benoit. “We installed a loft-style living space at the back for us, and turned the rest into our atelier and offices. As the label grew, we managed to buy the first and second floor of the building”.

It’s not surprising that the couple’s atelier is constantly evolving-they’ve always bucked trends, creating exquisite, intricate designs that draw inspiration from a wealth of eras and cultures.

The handful of Jamin Puech shops continue in the same vein. At the London boutique, vast chandeliers mae from wooden clothes pegs preside over the latest collection-a quirky, eloquent reminder of the Jamin Puech ethos of finding beauty in the most unexpected places.

Find Jamin Puech at 54 Ledbury road
W11 2AJ London
+44(0)207 221 30 59

14 Prince street
10012 New York
+1(212)431 5200

26, rue Cambon
75001 Paris
+33(0)1 40 20 40 28

Via Solferino, 3
20121 Milano
+39 02 92 87 05 84

Tips of Vintage style for Isabelle Puech and Benoit Jamin

1 It inspires our work “W’ve built up huge collection of bits and pieces from Clignancourt market that we display in apothecary jars’, says Isabelle.The couple use the jars as visual inspiration, and delve into the contents to trim and decorate their handbags.’We never stop looking for new materials and ways to work whith them’.

2 It packs a punch “We like watching people’s reactions when they see this huge letter’, says Benoit.’It came from a neon sign on a department store.It illuminates the first- floor leading,along with the chandelier created with sculptor Patrick Bailly.The wall was stripped back to bare brick when the couple renovated two years ago.’We liked its rough, indistrial feel, so didn’t replaster.

3 It pulls together all kinds of cultures ‘We use mood boards with images gleaned from the past, from artist as well as from Western,African and Asian cultures,’ says Isabelle.Part of their new collection was inspired by images from photogtapher and filmmaker Erwin olaf ‘, We loved these sed yet sublime characters.’

4 its ecofriendly ‘We chose vintage table and units to crate a cosy and homely vibe in the kitchen,’ says Benoit. The couple sourced the units,cupboards and shelves from flea markets,and added a worktop in polished concrete for modern contrast.

5 its worksin a variety of spaces ‘ The poster in our reception makes people do a double take.
we found the napoleon lll sofa in a garden,photographed it and now use it as our emblem.The tripod lamp came from the old BBC studios,’it’s perfect for creating a sense of theatre.’

6 It has a sense of humour “Buying a vintage piece gives you licence to have fun with it, “says Benoit. “I added the chalk message to our flea market bath when it was photographed for our New Year’s greetings card. It was filled with plastic ducks and large glitter ball.

7It appeals to a magpie spirit “We love mixing unexpected pieces -a vintage sewing machine chair with a new bespoke desk”, says Benoit. Antique storage boxes storeever-growing collections.A healthy amount of clutter-invites ideas,to-do list-adds a creative,informal vibe.

Si è conclusa la scorsa settimana il primo weekend della Design Week Veneziana, giunta alla sua seconda edizione.

Sabato 1 ottobre sono saliti in cattedra Tommaso Cora di Cibic workshop e Claudio Germak, docente del Politecnico di Torino, moderati da Clara Mantica, fondatrice di Best Up, con un viaggio all’interno di uno dei temi che tiene più banco al momento, ovvero la sostenibiltà.

Tra le varie domande che sono state poste, sono emerse in particolare quelle riguardanti a quanto fino ad oggi è stato fatto e quanto ci sarà da fare per lo sviluppo della sostenbilità, sia in Italia che altrove.

Gli autori hanno fornito esempi di best practices attive, evidenzando anche le lacune che ancora sussistono in un percorso ancora lungo per trovare la sostenibilità perfetta.

la Venice Design Week ha incontrato tra gli altri Giuseppe Finocchio, della Palermo Design Week e Marta Mandolini, della Firenze Design Week.

Tra le attività proposte anche l’esposizione LIQUidiSEGNI, che ha visto progetti provenienti da Europa, Asia e America Latina e la presentazione dei progetti partecipanti al concorso.
Domenica 2 ottobre, nella splendida cornice della Serra dei Giardini si sono svolti i primi laboratori: bimbi e adulti sono stati coinvolti in una riscoperta degli oggetti di scarto, in primis le bottiglie e i tappi di plastica, per dare loro nuova vita: insomma, con il design non si butta via niente. I laboratori saranno riproposti domenica prossima, sempre alle 15 alla serra dei giardini.

(per info e iscrizioni: 3298740881 // laboratori@designweek.it).

Per ulteriori informazioni sulla design week veneziana potete trovare qui tutte le informazioni.